
l',.t'.'<n Nil '1. 






.'1 






















'bv° 



.0^ ■ 



^^. 

<^°^ 



•°, 






'^o. 















.^^O 




















»- o. 








Mary J 
khired 




ilHam 
ut the 

Sbund- 
e. As 
rst we 

curtain 
ptional 
Cents. 



t 



St and 
oer of 
vterior 
#cene. 

gc, her 

He, but 
Watts, 
: can 

ents. 



THE LION AND THE MOUSE S 

A Play in Four Acts 



ST 



CHARLES KLEIN 



ComaoBT. 190a. vt CBASLSS KLBia 



ALL RIGHTS RESERVED 

CAUTION. —AD persons are hereby warned that "THE lilOU A.tVB 
THE MOUSE," being fully protected under the Copyright Laws of tiia 
United Statef*. Is subject to Royalty, and any one presenting the ' ■ ay 
without the consent of the owners or thier authorized agents wii' oe 
liable for the penalties by law provided. Application for the an iteur 
rightsmust be made to SAMUEL FRENCH, 28-30 West 88th Street, New 
York City. Application for the professional acting rights must be 
made to THE AMERICAN PLAY COMPANY. 83 West 42nd etreel. 
New York GUy. 



NEW YORK 
SAMUEL FRENCH 

PUBLISHER 

2830 WEST 38TH STREET 



LONDON 

SAMUEL FRENCH. LTD. 

26 SODTHAMPTON STRJiJtl 

STRAND 



T 






Especial notice should be taken that the possession of this 
book without a valid contract for production first having 
been obtained from the publisher, confers no right or license 
to professionals or amateurs to produce the play publicly 
or in private for gain or charity. 

In its present form this play is dedicated to the reading 
public only, and no performance, representation, production, 
recitation or public reading may be given except by special 
arrangement with Samuel French, 28-30 West 38lh Street, 
New York. Attention is called to the penalty provided by 
law for any infringement of the author's rights, as follows: 

"Section 4966 : — Any person publicly performing or rep- 
resenting any dramatic or musical composition for which 
copyright has been obtained, without the consent of the 
proprietor of said dramatic or musical composition, or his 
heirs and assigns, shall be liable for damages thereof, such 
damages, in all cases to be assessed at such sum, not less than 
one hundred dollars for the first and fifty dollars for every 
subsequent performance, as to the court shall appear to be 
just. If the unlawful performance and representation be 
wilful and for profit, such person or persons shall be guilty 
of a misdemeanor, and upon conviction shall be imprisoned 
for a period not exceeding one year." — U. S. Revised 
Statutes: Title 60, Chap. 3. 



V ) 



THE LION AND THE MOUSE. 



A Play in Four Acts 

By Charles Klein. 

Anthor of the " Music Master** elc 

Originally produced at the "Lyceum Theatre," 
New York, Nov. 20th, 1905. 

With the following cast. 

N. B. The characters are named in the order in 
which they first appear. 

EuDOxiA Sadie Stringham 

Rev. Pontifex Deetle Edward See 

Jane Beetle Margaret Gray 

Mrs. Rossmore ^ *..... . .Julia Hanchett 

Miss Nesbit , - Carolyn Elberts 

Judge Rossmore. .,.,,..,•.. Walter Allen 

Ex- Judge Stott Frazer Coulter 

Expressman James T. McDonald 

Toby Ricketts Augustin Daly Wilks 

Shirley Grace Elliston 

Jefferson Ryder Richard Bennett 

(By courtesy of Charles Frohman.) 

Hon. Fitzroy Bagley Martin Sabine 

JoRKiNS James Stone 

Senator Roberts E. A. Eberle 

Kate Roberts Marion Pollock Johnson 

Mrs. John Burkett Ryder Marguerite St. John 

John Burkett Ryder Edmund Breese 

Maid Ruth Richmond 



THE LION AND THE MOUSE. 



SYNOPSIS. 

Act I. Reception room in Rossmore's Cottage 
in a small Long Island Village. 

\CT II. Inner Private Library in the Ryder 
Mansion on Fifth Avenue. 

{Lapse of six weeks.) 

Act III. Same as Act II. 

{Lapse of two months.) 

Act IV. Shirley's suite in the Ryder Establish- 
ment. 

{The next morning.) 

Time : — The present 



THE LION AND THE MOUSE 



ACT I. 



Scene : — Combination reception and dining room 
in a cottage in a small Long Island village, set- 
ting according to diagram. Bell at rise. As 
curtain rises, Eudoxia, a sour-faced New 
England, gawky type of girl, with a constant 
scowl on her face, is ushering into the inner 
room the Reverend Pontifex Beetle and his 
sister, Jane Beetle. Pontifex is a country 
parson and has a small face with pointed nose. 
He is a callow youth of forty. Theology is 
written on his brow. His sister is a young wo- 
man who looks as if she is constantly under 
self restraint and was going to explode into a 
fit of rage, but with considerable effort manages 
to repress herself. 

Eudoxia. {Enters l. and crosses to r. door) 
I can't be taking my hands out of the flour all the 
time. Nothing was ever said to me about answer- 
ing bells all day. Mr. Rossmore is out. (Shakes 
head) 'Tain't no use, they don't see visitors. 

Pontifex. Kindly inform Mr. and Mrs. Ross- 
more that the Reverend Pontifex Beetle and his 
sister Jane Pontifex Beetle have called to present 
their compliments. (Crosses from r. d. to L, 

5 



6 THE LION AND THE MOUSE. 

Hands her a card) Sit down, Jane. {Points to 
chair, Jane sits reluctantly) 

EuDoxiA. (Looks at them hopelessly) She'll 
blame me for this. 

PoNTiFEX. Blame you? For what? 

EuDoxiA. She told me to say she was out, but 
she isn't. I can't lie to a minister of the gospel. 
(Looks away) Leastways not to his face. I'll 
give her your card, sir. (Exits upstairs) 

PoNTiFEX. (Waits until Eudoxia has disap- 
peared — looks around curiously. Pirks up paper) 
Law Papers. Wall Street Reports, the God of this 
world — (Throws it dozvn in disgust) Evidently 
ordinary people, Jane. (Goes to mantel, looks at 
letter) 

Jane. As such they will not thank us for prying 
into their affairs. 

PoNTiFEX. Prying ? 

Jane. Just plain prying. What else is it? 

PoNTiFEX. It is protecting my flock — as leader 
of the United All Souls Baptismal Presbytery it is 
my duty to visit the widows and orphans. 

Jane. These people are neither widows or 
orphans. 

PoNTiFEX. They are strangers and it is my duty 
to my congregation to find out who is in their 
m.idst. No less than three of the lady trustees of 
my church have asked me who and what these peo- 
ple are and whence come they. 

Jane. The lady trustees are a pack of inquisi- 
tive old women. 

PoNTiFEX. (Crosses to table) Jane, do you 
know that you are nearly uttering a blasphemy ? 

Jane. One of these days I shall quite do so. 

Pontifex. These Rossmore people have been 
here six weeks. They have visited no one ; no one 
visits them. They have avoided a temple of wor- 
ship ; they have acted most mysteriously. Who art 
they? What are they hiding? Is it fair to my 



THE LION AND THE MOUSE. 7 

fiock? {Looking closely at back of photos for 
signatures) J am afraid that it may be some buried 
scandal. 

Jane. Then why dig it up. 

PoNTiFEX. Do I owe my innocent flock nothing? 
If there is a scandal we should be acquainted with 
the details. 

Jane. I hope they will turn us out. 

(EuDOxiA enters with Mrs. Rossmore and exits.) 

Mrs. Rossmore, Mr. Deetle — Miss Deetle — I 
am much honored. 

PoNTiFEX. The honor is ours — Jane and I called 
to 

Mrs. Rossmore. Won't you sit down? 

PoiNTiFEX. Thank you. (All sit) Mrs. Ross- 
more, the fact is we are thinking of giving a 
festival next week, a festival with strawberries. 

Mrs. Rossmore. Strawberries — ^at this time of 
the year. 

Jane. Canned. 

PoNTiFEX. {Pause and then awkwardly) Do 
you like strawberries? 

Mrs. Rossmore, It is very kind of you. Indeed 
I appreciate your kindness most keenly, but my 
husband and I go nowhere, nowhere, at all. You 
see we have met reverses. {Pause — sighs) 

PoNTiFEX. Reverses — dear me — ^youVe met 
with reverses. {Pause) When material reverses 
come we naturally look for spiritual consolation, 
and my dear Mrs. Rossmore, in the name of 
the Uniformed All Souls Baptismal Presbytery — 
(Rise) I offer that consolation. 

Jane. {To Pontifex) My dear Pontifex, you 
have already offered a strawberry festival which 
Mrs. Rossmore has been unable to accept. 

Pontifex. {Glaring at his sister) Yes. Quite 
SO. (EuDOXiA enters from l. up hallway to answer 



8 THE LION AND THE MOUSE. 

bell) Come, Jane. (All rise) We must be going, 
you will pardon our hurrying away. 

{Enter Miss Nescitt, a garrulous young woman 
dressed in the height of the village fashion.) 

Miss Nesbitt. My compliments and — (Busi- 
ness zvith two cards — one large and one small) I'd 
just like to leave cards for Mr. and Mrs. Rossmore 
— that's Papa's card. {Hands Eudoxia a large 
business card) And that's mine. My papa is Johif 
Nesbitt the banker and 

Eudoxia. Yes, Miss, I know John Nesbitt the 
banker. 

Miss Nesbitt. Why, how do you do, Dr. 
Deetles and Mrs. Deetle — and oh, this is an unex- 
pected pleasure, Mrs. Rossmore, how do you do. 1 
just called to leave cards. My father is John Nes- 
bitt the President of the Massapequa First Na- 
tional Bank, and I just thought that we, being 
sorter society leaders here, it was a social duty to 
leave cards. (Eudoxia gives cards and exits l.) 
That one of Pa's is his business card. He'll be 
delighted to see you at the bank or at our home ; it 
is over the bank. 

Mrs. Rossmore. Most charmed to make your 
acquaintance. Miss Nesbitt. 

Miss Nesbitt. Well, you must be lonely here,, 
week after week seeing no one. 

Mrs. Rossmore. You are all too kind. Won*( 
you sit down? 

Miss Nesbitt. Thanks. (Bus. of two ladies 
trying to sit in the same chair) It's kinder nice to 
meet the Doctor here and you, Miss Deetle. It 
sorter helps to break the ice, so to speak. 

Jane. {Aside to Miss Nesbitt) And you will 
find plenty here to break. 

Pontifex. I am afraid we must be going. 



THE LION AND THE MOUSE. 9 

Miss Nesbitt. We all hope to see you at our 
raspberry festival. 

Jane. Strawberry, my dear. 

Miss Nesbitt. Oh, yes, strawberry. (Bell. 
Mrs. Rossmore rings bell) Here's tickets for two. 
(Hunts in bag) I'll just leave the tickets in case — 
(Bus. searches in reticule) Why, I declare I'm 
sold out. (Laughs) I'll come over with them 
later. (Bus. zvrites in a little book) You'll be sure 
to come. 

Mrs. Rossmore. (Helplessly) I — I shall try 
— (Hall door bangs. Enter into halhvay James 
Rossmore) Here is Judge Rossmore now. (All 
rise. Judge Rossmore is a man who is prematurely 
old, a careworn, tired out, pathetic figure, he act3 
as if dazed in a dream. He looks sadly at thi 
visitors and then at his wife for explanation) 
James, dear, this is the Rev. Doctor Deetle. 

Pontifex. How do you do ? 

Mrs. Rossmore. And his sister, Miss Deetle. 
This young lady is Miss 

Miss Nesbitt. I'm Miss Nesbitt — my father is 
John Nesbitt, — the banker — I called to leave cards. 
(Produces card zvhich she thrusts in Rossmore's 
hand) That's Pa's business card, but it's all the 
same. He has no private card. He says he is a 
a public man and don't need private cards. 

Rossmore. I am very pleased to — to meet you 
all. (Crosses to fireplace) 

Pontifex. I am afraid we really must be going. 
Good-bye, Mrs. Rossmore. (Crosses to c.) De- 
lighted to have had this little visit. (Up to door 

R. C.) 

Jane. (Up to Mrs. Rossmore c.) Mrs. Ross- 
more. I desire to offer my sincere apology for in- 
truding on your privacy. (Bow and exit r. foU 
lowed by Pontifex) 

Miss Nesbitt. (Up to Mrs. Rossmcre c.) 
You'll come over and see Pa, won't you. We live 



10 THE LION AND THE MOUSE. 

over the bank. Pa owns the First National Bank, 
you know. I'll be back with two tickets later. 
Good-bye. 

(^Exits through hall into street. Eudoxia bangs 
the door after them.) 

Eudoxia. (As she exits) Comin' and goin', 
comin' and goin' all day long. (Exit l.) 

(RossMORE L. ga^es sadly into fire. Mrs. Ross- 
more crosses to him.) 

Mrs. Rossmore. Has anything happened? 

RossMORE. Yes, my dear. The steamer was 
sighted early this morning — Shirley has arrived. 

Mrs. Rossmore. Shirley has arrived? Did you 
hear from Judge Stott? 

Rossmore. Yes. He met her at the pier and 
they are on their way here. 

Mrs. Rossmore. I half wish we'd gone to meet 
her ourselves. (Crosses to r. of table) 

Rossmore. I ought to have gone — (Rises and 
comes down) It was my place Martha, but I was 
afraid ; afraid to look my own daughter in the face. 
Shirley in this place — Shirley living from hand to 
mouth — (Meets Mrs. Rossmore in front of table) 

Mrs. Rossmore. I wish we hadn't allowed her 
to go rushing all over Europe. She'd been here 
when it happened ; she'd know now. She'll be here 
for dinner — I must tell Eudoxia — (Ready the car- 
riage wheels off. Mrs. Rossmore pulls bell cord) 

Rossmore. Quite a come down from Madison 
Avenue, isn't it? 

Eudoxia. (Enter l.) Did you ring, ma'am? 

Mrs. Rossmore. Yes, Eudoxia, my daughter 
will be here for dinner. 

Eudoxia. Your daughter. Nothing was said 
about a daughter. That makes three in family, 



THE LION AND THE MOUSE. ii 

ma*am. When you engaged me you said there 
would be only two. 

RossMORE. Well, with your kind permission 
there will be three. 

EuDOXiA, Very well, ma'am one extra — nothin' 
was said to me about extra daughter. (Exit l.) 

RossMORE. (After Eudoxia's exit) Ah, my 
dear, this nation doesn't breed servants, at least 
not good ones. 

Mrs. Ross more. Well, my dear, she's the best I 
could get. (Rises and crosses to him) 

Ross more. I don't think she and Shirley are 
going to harmonize. (Remains at fireplace. Bus. 
the noise of a carriage driving up to house. They 
stand and listen and look at each other as if afraid) 

Mrs. Rossmore. It's Shirley. 

Rossmore. I wish it were over. I wish she 
knew. 

Mrs. Rossmore. Shall I go, or would you like 
to. (Go to Rossmore's l. Bus, Eudoxia goes 
to door) 

Rossmore.. It seems as if the real blow is 
about to fall. Stott might have phoned up. 

Stott. (Through open door to someone off 
stage) Drive back for the others. 

Eudoxia. Others! (Carriage) 

Mrs. Rossmore. The Judge. 

Rossmore. Alone? 

Mrs. Rossmore. I don't hear her voice. 

(Eudoxia at door.) 

Stott. (Enters r. gives bag to Eudoxia) It's 
8:11 right. (Comes c.) Ah, there you are, by 
George, I've had some difficulty in finding you. 
(Bus. shakes hands tvith Rossmore. Eudoxia 
takes bundles upstairs) 

Rossmore. My dear Stott, how are you? 
Where — where is she? 



12 THE LION AND THE MOUSE. 

Stott. At the depot waiting for the hack to 
drive back for her. It's the only one. I came 
ahead to prepare you. By Jupiter, this is a one 
horse town and no mistake. Why did you pick out 
such a hole? 

RossMORE. No one knows me here — and 

Stott. Well, perhaps you're right 

RossMORE. How did she take it? 

Mrs. Rossmore. Does she feel very badly? 

(Stott scratches his chin.) 

Rossmore. Come, speak out, we can stand it. 

Mrs. Rossmore. Is she — she — very upset? 
(Pause, still very uncomf or table) 

Stott. The fact is she doesn't know. 

Mrs. Rossmore. She doesn't know. 

Rossmore. And you've brought her all the way 
down here without telling her what has happened. 
Oh, Stott ! 

Stott. I couldn't — I just simply couldn't. 

Rossmore. And you expect me to — {Sits r. on 
sofa) 

Stott. I couldn't tell that girl returning from a 
beautiful time in Europe and the Orient, that her 
father was penniless, and 

Rossmore. And disgraced — ^go on and say it. 

Stott. You know the girl loves you, Judge ; she 
would have gone into hysterics. (Eudoxia opens 
the door) I really hadn't the heart to tell her. 

Rossmore. But, Stott, you promised. 

Expressman. {Outside) Whoa! Whoa! 
{Enter Expressman) Where does this baggage 

go? 

Eudoxia. All on 'em? 

Expressman. All on' em. 

Eudoxia. Ain't you in the wrong cottage? 

Expressman. No, I ain't. This is the Ross- 
more's cottage — Cooper Cottage that was? 



THE LION AND THE MOUSE. 13 

EuDoxiA. Yes, well 



Expressman. Then it's O. K. 



Stott. It's all right. Get them in here and out 
of the way as soon as you can. 

(Exit Expressman.) 

EuDOXiA. Nothing was said to me about bag- 
gage — two in the family — more like twenty-two. 
(Exit L.) 

(Expressman brings on trunks.) 

Stott. I've got some papers for you to sign, 
Judge. Your personal creditors have accepted the 
seventy cents on the dollar, but that includes the 
sale of furniture, pictures and all of Mrs. Ross- 
2nore's jewelry — now this inventory. 

RossMORE. Not now; not now. I've no head 
for figures now — wait till she knows — wait — 
(Crosses r.) 

Stott. Brace up old man, it's nothing. 

Ross more. Nothing. Then why didn't you tell 
her? 

Stott. (Wagon) I mean it's nothing when the 
shock is over. Take a good plunge, the icy waters 
close over your head, you shiver a little, then strike 
out for the shore, and you're all right. 

Expressman. (Shouts aside) Whoa — whoa 

Stott. There she is 



Rossmore. My heart is just like lead. (Crosses 
to piano) 

(Enter to Shirley, door in halhvay. She is 
dressed in a beautiful travelling costume in 
striking contrast to simplicity of surround- 
in^': .^ 



14 THE LION AND THE MOUSE. 

Mrs. Rossmore. Shirley 

Shirley. Mama! Oh, Mama, dear old Mama! 
(Shirley kisses her mother) I am so glad, I tell 
you six months in Europe has made me so home- 
sick — I father — I've been longing to see you. 
{Looks at him, the expression of her face has 
grown serious) Why, how you have changed. I 
can scarcely believe it's you — say something — let me 
hear the sound of your voice, father ! 

Rossmore. (Tries to smile) Why, dear — I — I 



Shirley. Ah, it's you — it's you. (Hugs him) 

Rossmore. Of course it is — my dear child — of 
course it is. 

Shirley. Yes, but it isn't the same. There's 
no ring in your voice. It sounds hollow and empty. 
It sounds like an echo. (Bus.) And this place — 
this awful place — (Looks around) I don't under- 
stand — I — this isn't where we live, is it? (Looks 
at them, they all avoid her gaze. Rossmore nods 
affirmatively) In this little bit of a place .^ 

Judge. (Affirmatively) In this little bit of a 
place. (Sits on trunk c.) 

Mrs. Rossmore. (Looks around sorrowfully) 
It is a little bit of a place, isn't it ? 

Rossmore. It's the best we can afi'ord. 

Shirley. It's the best we can afford? (Stares 
at her parents) 

Mrs. Rossmore. Shirley — ^your father — has — 
lost everything. (Sits r. of table) 

Rossmore. I'll tell her myself Martha. I'll tell 
her myself. You're quite right, Stott. If she's to 
hear it from anyone, let her hear it from me. You 
remember, my dear that my capacity as Judge of 
the Supreme Court, I rendered decisions, several of 
which were adverse to the corporate interest of a 
number of rich men. Well, since that time, they've 
used all of their power and influence to get me out 



THE LION AND THE MOUSE. 15 

— off the bench — and they have so manipulated 
events that to-day I stand false^ accused of having 
accepted bribes. (Sits in arm-chair) 

Stott. You can never convince me that this 
whole scheme was not a conspiracy formulated by 
ready Money Ryder, the railroads and the Trust 
Companies. Ryder was the man who had most to 
lose by your honesty on the Bench. Ryder was the 
man you hit the hardest when you enjoined 
his Transcontinental Railroad from appropriating 
thousands of acres of land. 

Shirley. And you think Mr. Ryder is responsi- 
ble for these disgraceful accusations against father ? 

Stott. Fm sure of it. 

Shirley. Father — I — I am interested in this 
man. (Rises, down to r.) I — I know his son very 
well; why are you sure that he — (Over to r.) 

RossMORE. I knew him years ago, Shirley and 
on account of this old acquaintance, I wrote him 
two letters asking him if the concern I was invest- 
ing my fortune in was a safe one. If he had pro- 
duced these letters at the Congressional inquiry, it 
would have materially helped me, but he never 
even answered our request to produce them. 

Shirley. Couldn't you compel him? 

Stott. We could never get to him. The man is 
guarded as if he were an Emperor. 

Shirley. But still he — he may not have re- 
ceived the letters. 

Stott. After the Transcontinental R. R. deci- 
sion Ryder was heard to say that he'd have Judge 
Rossmore off the bench inside a year. 

Rossmore. And he has done it. That is, he will 
do it. 

Shirley. Father, does this mean that you have 
lost y ur position, your fortune, and your — ^your 
good name? 

Rossmore, Ye& 



l6 THE LION AND THE MOUSE. 

(Pause. All look at Shirley. She is struggling 
to keep back her tears. The effort is obvious.) 

Mrs. Ross more. (Rising) And we have to live 
in this Httle bit of a place. 

Shirley. (Laughs a little. With considerable 
effort) Don't you call this a little bit of a place. 
(Takes her hat off) I think it's just the dearest 
little jewel of a home you could have selected. 
(Crosses to c.) 

Mrs. Rossmore. (Who has been crying now 
brightens up) Do you think so? 

Rossmore. It's not so bad, eh? (Rises) 

Shirley. Oh, it's just what we wanted; the 
very thing. We always wanted a little place like 
this all by ourselves, no strangers. (Takes off 
coat and things and puts them on table) It's just 
splendid. (Pretending to be delighted but there is 
a tear back of it) Oh, if you only knew how I 
dislike New York, with its great ugly houses and 
its retinue of servants and domestic and social re- 
sponsibilities. We shall be able to live for our- 
selves now, father ? 

Rossmore. Why, yes, dear, but there's not 
much room. (Crosses to her) 

Shirley. But there's quite enough. Let me 
see, upstairs three rooms, eh — and above that three 
more. 

Mrs. Rossmore. No, then comes the roof. 

Shirley. Of course, a nice gable roof, a slop- 
ing slanting roof that the rain runs off beautifully. 
(Crosses to c.) Just the thing. Fine. You 
thought of everything, didn't you mama? (Forc- 
ing a laugh) Oh, I can see that this is going to be 
jolly. Just like camping out, and you know how I 
love to camp out. (Crosses to r.) Oh, and you 
have a piano, too. (Bus. strikes keys, it has a tin 
pan effect) What a lovely tone, a little old per- 
haps, but I like those zither effects, it's like a 



THE LION AND THE MOUSE. 17 

spinnit, 1 6th Century. I can see you and Mama 
dancing a stately minuet. Thank goodness, if we 
want to dance we shan't have to send out a lot of 
invitations for we don't know anybody, and what's 
better still, no one knows us. 

(Enter Miss Nesbitt who comes to c.) 

Miss Nesbitt. Excuse my rush, but I promised 
you these tickets for the festival, Mrs. Rossmore, 
and I always like to keep my promise. I've num- 
bered them 17 and 18, not because there'll only be 
seventeen or eighteen there, but because it is the 
seventeenth and eighteenth tickets I've sold. No 
wonder Pa says Fm a hustler. (Bus. hands Mrs. 
Rossmore wore tickets) One dollar for the two. 
Perhaps your friends would like to go too. I've 
just two more tickets. (Bus. in reticule) This 
will make the nineteenth and twentieth, and I think 
that twenty will about get the firi"" prize. (^Bus, 
takes out large card) No, ihh ain't a ticket. 
That's one of Pa's business cards, shall we say two 
more? 

Mrs. Rossmore. Well, I — this is my daughter 
Shirley, this is one of our neighbors. 

Shirley. (Crosses to c.) One of our intimate 
neighbors. Charmed, I'm sure. 

Miss Nesbitt. Most pleased to know you. 
(Shakes hands) I'm Arminta Nesbitt ; my father's 
the banker; we live across the street in that brick 
building. Were you playing when I came in ? 
Don't let me disturb you. Go right on. This call 
is more business than social. You must come over 
and see me. Will your gentleman friend take a 
ticket ? 

Stott. I'll take the whole four. (Takes them) 
Thank you. (Bus. with money) Two dollars I 
think you said. 



i8 THE LION AND THE MOUSE. 

Miss Nesbitt. Yes, but these are for Mrs. 
Rossmore. 

Stott. I*m Mrs. Rossmore's leg A representa- 
tive. All business must be transacted through me. 

Miss Nesbitt. Oh, I see. You are buying 
these tickets for them. 

Stott, Exactly. 

Miss Nesbitt. Well, wouldn't you like to buy 
some for yourself. 

Stott. And you are the Banker's daughter. 

Miss Nesbitt. I am. 

Stott. Give me two more. 

Miss Nesbitt. Twenty-two. The prize is mine 
for a foregone conclusion. (Stott bus. zviih 
money) Thank you. This call is more business 
than social. Don't forget to come and see me. 
Good-bye. (Drops notebook c, exits r.) 

(Stott exits after Miss Nesbitt.) 

Shirley. I'm going to like this little town. 
(Crosses to Mrs. Rossmore and kisses her) 

Mrs. Rossmore. Oh! Shirley! 

Shirley. Now, mother, wc must be brave like 
Father. Don't you see how br, .e and unflinching 
he is — why, I do believe he is laaghing at the whole 
thing. Of course he is. It appeals to his sense of 
humor. Father has a sense of humor if he is a 
Judge, eh? (Laughs, crosses to him) Why, it's 
absurd, when you come to think of it, that any one 
should accuse him of being corrupt and having for- 
feited the right to retain his Judicial honors. 
Father's going to clear his name of this preposter- 
ous charge and we're going to help him. ( Crosses 
R. c.) Oh, we're not helpless just because we are 
women. We are going to work, mother and I, eh? 
(Bus. of grip) 

Mrs. Rossmore. Work? 

Shirley. Work 



THE LION AND THE MOUSE. 19 

RossMORE. Work, why — my dear child- 



SniRLEY. (Sits on trunk) Why not? Let me 
tell you something. The short stories I have writ- 
ten from time to time, which have been accepted 
by the Universal Magazine, have been made into a 
book, and are most successful. And I've half 
finished a new novel. Who do you suppose I made 
my central character? Oh, you'd never guess, John 
Burk-tt Ryder. 

RossMORE. John Burkett Ryder. 

Shirley. Under another name. I call him John 
Broderick. 

Rossmore. But why did you select this man 
Ryder? 

Shirley. Because he's the most interesting 
man in America to-day — the greatest financial giant 
the world has ever known. I met his son Jefferson 
in Paris. He spoke a great deal about his father. 
It was listening to his talks about his father's char- 
acter, that made me put him into a story; he's a 
wonderful man; colossus — (Almost with a cry) 
Ah — why couldn't it have been some other man; 
anyone but his father. (Goes up stage, nearly 
breaks down) 

(Enter Stott r. 3.) 

Rossmore. Why ? 

Mrs. Rossmore. James. (Motions him to keep 
quiet. Bus. Rises, goes to fireplace. Aside to 
Shirley) Is Jefferson Ryder the one you wrote 
about? The one 

(Shirley nods sadly.) 

Shirley. Yes, mother. 

(This bus. must indicate Shirley's love for Jeffer- 
son Ryder. Mrs. Rossmore shakes her head.) 



20 THE LION AND THE MOUSE. 

Mrs. Rossmore. Oh, well I must go down and 
see Eudoxia about dinner. I'm afraid she's for- 
gotten — two — extra — oh, dear. (Crosses to l. c.) 

Shirley. Shall I come with you? 

Mrs. Rossmore. No thank you — I think I'd bet- 
ter see Eudoxia alone. (Exits l.) 

Rossmore. (Crosses to r. c.) And I'll get 
someone to take these trunks upstairs. There 
won't be room for them all. Most of them will 
have to go in the cellar. Tell your mother that I 
have gone on an errand and I'll be back soon. 
You've put new life into me dear. New life. 

Shirley. (Hiding her ozvn grief) That's right, 
father, that's right. (Laughs) We'll start you on 
a new career. 

Rossmore. Aye, dear, a new career. (Ross- 
more puts on his hat and exits.) 

(As soon as Rossmore is gone Shirley can hold 
back her tears no longer, bursts into a fit of 
sobbing from which she recovers.) 

Stott. (Sits R.) That's right, have a good 
cry. Upon my soul I think you've earned it. 

Shirley. (On trunk c) I couldn't help it — I 
— it's very weak of me. (Laughs) Is my nose 
red? Can't help it if it is. Oh, why couldn't it 
have been any other. Now, Judge Stott I want 
you to tell me the truth, straight out from the 
shoulder. Is my father ruined financially and 
professionally ? 

Stott. Yes — your father in his judicial capacity 
blocked the game of the moneyed interests of this 
country, and to remove him, they got him to invest 
his fortune in a kite, which came down as soon as 
they cut the string. 

Shirley. Yes — but the disgrace. 

Stott Part of the same scheme. They loaded 
him down with more stock than his contract en- 



THE LION AND THE MOUSE. 31 

titled him to, then accused him of having taken it 
in payment of his services to them in his ofhcial 
capacity. 

Shirley. Do you mean to tell me that those 
men swore away my father's honor? 

Stott. Oh, no, they were too clever for that 
They refused to reply to certain questions involv- 
ing his integrity. They allowed it to be inferred 
that the shares he had bought had been given to 
him as a bribe. The Congressional House Com- 
mittee was against him and Tm afraid the Senate 
will be only too ready to remfDve him ; all they need 
is an excuse — (Rises back of chair) 

Shirley. And you believe Mr. Ryder to be at 
the head of this movement against him? 

Stott. He had the most to gain. 

Shirley. Then why don't you proceed against 
him? 

Stott. How can we? We have no proof, sus- 
picion is not evidence. 

Shirley. Poor old father, what a miserable 
ending to an honorable hard working career. It 
seems as though you can fight everything in the 
world except money. Well— ~(i?w^j and crosses 
L.) I'm going to fight money — I'm going to fight 
John Burkett Ryder 

Stott. My dear child, how can you expect to 
reach him? We couldn't. 

Shirley. I don't know — I — I love my father 
and I'm going to fight for him — (Crosses L.) 

Stott. But how? 

Shirley. I don't know — I don't know 

Stott. The matter has been sifted and sifted 
over and over by some of the greatest men in the 
country. 

Shirley. Has any woman ever sifted it over? 

Stott. No — but 

Shirley. Then it's about time one did. Those 



22 THE LION AND THE MOUSE. 

letters my father wrote to him — they should be of 
service. 

Stott. Yes. 

Shirley. Then I'll get them if theyVe in exist- 
ence. (To herself) Oh, if it had only been some 
one else but Jeff's father — I don't know — it may bd 
that — I think I see my way 

Stott. And you think you can beat a thousand 
million of dollars — {Crosses c.) 

Shirley. I can try 

Stott. John Ryder is married. 

Shirley. He has a son 

Stott. You said you were together a great deal 
— I think I see. 

Shirley. Yes, I know Jefferson Ryder — I know 
him very well, so you see there is a possibility, isn't 
there, and you will help me, won't you? 

Stott. All I can. 

Shirley. Well, to begin with I want to sell 
some jewelry and some other things, I shan't need 
them now — and I want to give the proceeds to 
father without letting him know where it comes 
from, you understand? 

Stott. Yes, but 

Shirley. Now don't interrupt, please — ^that's 
settled. 

Stott. Miss Shirley, am 1 your lawyer, or are 
you mine? 

Shirley. You're my lawyer, but you mustn't 
argue, because I want my own way. 

Stott. (throzvs up both hands) You've defined 
my position beautifully. (Eudoxia with her hair 
badly dishevelled crosses and opens door) All 
right go — ahead — go ihead — have your own way. 

Jefferson. (Outside) Has Miss Rossmore 
arrived ? Oh, yes, there are her trunks. Is she in ? 

Eudoxia. What name shall I say, sir ? 

Jefferson. Please say Mr. Jefferson Ryder— 
{Business tvith card) would like to see her. 



THE LION AND THE MOUSE. 23 

Shirley. Eudoxia, I can't see anyone, I'm a 
sight. {Takes things upstairs from table) 
Eudoxia. This way sir 

(Shirley tries to escape but Eudoxia ushers Jef- 
ferson in before Shirley can exit.) 

Shirley. I — I — I — hardly expected to see you 
so soon. Judge Stott this is Mr. Jefferson Ryder. 
Would you please talk to each other for a moment. 
{Hurries off stage) 

(When Jefferson goes down stage Eudoxia 
exits L.) 

Jefferson. {Down to Stott) How do you do 
sir, I'm pleased to meet you. {Holds out hand) 

Stott. {Bows) Pleased to know you. 
{Pauses, then sees Jefferson's outstretched hand, 
shakes it azvkwardly) 

Jefferson. {Pause) Quaint little place — these 
Long Island Villages- 



Stott. Yes, you just returned from Europe^— 

Jefferson. Yes 

Stott. Did you have a pleasant trip? 

Jefferson. Delightful ; moon all the way over. 

Stott. Oh, mooning all the way over, eh? 

Jefferson. Yes — no — no. {Pause) I was 
not mooning — just plain moon; I've just heard 
about Judge Rossmore's impending trial. By 
George it's — it's too bad. 

Stott. Yes — it's too bad. 

Jefferson. What a blow it must have been for 
Shirley, 

Stott. Shirley 

Jefferson. Miss Rossmore 

Stott'o Yes, quite a blow — 

{Enter Shirley.) 



24 THE LION AND THE MOUSE. 

Shirley. Won't you sit down, Mr. Ryder. 
(To Jefferson) I thought you said good-bye to 
me this morning. 

(Stott crosses to R. hack of table and sits,) 

Jefferson. So I did, but I came to say it again. 
The fact is, I wrote my mother about you and she 
has shown the letter to my father and he— he— has 
wired me to come to Chicago to-night — His private 
car is waiting for me, but I — I can't go until I've 
seen you. Something has happened and I want to 
explain just how it is. May I ? 

Shirley. {Both sit) Why of course — sit down. 

Jefferson. May 1 seo yoii alone? 

(Stoi't rues,) 

Shirley. Judge Stott; !s my legal rcpres^tive 

(Stott sits,) 

Jefferson. Well, this is not a matter of law 

Shirley. (Laughing) Not now perhaps, but 
it may be later on; we're both bound to disagree 
about something; it's always a good thing to have 

a lawyer present who can settle disputes 

Jefferson. We didn't disagree on the steamer 
and we didn't have a kw^xr. 

Shirley. No — we didn't. (Slight pause) 
Stott. (Laughs) I thip^^ I'll wait till my ser- 
vices are really needed. (Ki^ss, crosses r. c.) If 
you come to any entanglen^'^-^t you can't unravel, 
send for me. I'll stroll ou arc meet your father, 
excuse me. (Sees that both J-^v'F^p' on and Shir- 
ley are engrossed zvith their ozvn thoughts, Stott 
exits) 

Jefferson. Certainly, I felt that I must see 
vou. I had two rf'asons, both of sufficient im- 



THE LION AND THE MOUSE. 25 

portance to bring me here without the formality of 
an invitation. In the first place I want to express 
my deepest sympathy for your recent — I was al- 
most going to say — bereavement 

Shirley. Go on — say it — ^you might as well- 
father is dead 

Jefferson. (Rises) Dead — ^you ■ 

Shirley. Oh, his heart beats and he can see and 
hear and speak; he can even walk and — (Rises) 
Oh, he is just -a shadow — an empty shell — ^but — I'd 
rather not speak of that just now — it's too recent. 

Jefferson. But it is precisely now — at this 
moment. When perhaps all or most of your friends 
have deserted you or are keeping away from you, 
that I feel I must speak. I told you on the boat 
that I loved you, and although you gave me no 
definite answer you led me to believe that there was 
some hope. 

Shirley. I said nothing except it was shock- 
ingly sudden — and 

Jefferson. But you didn't say no — and you ac- 
cepted that ring. 

Shirley. Only as a souvenir — but I 

Jefferson. Shirley — if there is any time 1 
ought to speak to you it is now when misfortune 
has come into your life. The sins of the father 
should not embitter our lives 

Shirley. My father has not sinned. 

Jefferson. I wish I could say the same of mine, 
that brings me to the second reason for coming 
down so soon — (Business with newspaper) The 
report of my engagement to Katherine Roberts was 
announced in yesterday's papers, while we were 
both on the ocean — I wanted to expain 

Shirley. I had not read it. So you are engaged 
to Katherine Roberts. (Bus. zvith paper) Is that 
she? (She turns up her nose, Jefferson sits c.) 
I don't think much of her picture, and you told 
me on the third day out that I was really and truly 



26 THE LION AND THE MOUSE. 

the first and only — Oh, I don't care how young a 
man is, there never seems to have been a really and 
truly first and only 

Jefferson, (Sits on trunk) You are my first — 
my very first and only, this engagement is one of 
those paternal arrangements. Kate doesn't care a 
rap for me and I — why — before I was half through 
my college course father told me she was the girl 
he expected me to marry. He threw us together 
all the time. He told everybody that it was settled. 
That accounts for the reports getting around that 
we are engaged. Whenever my father wants any- 
thing to happen the papers are full of it. He in- 
spires editorials and magazine articles, declaring 
things ought to be so, and then somehow or other 
the things happen, but this is the one thing that 
won't happen. (Rises and goes to her) I love you 
Shirley, and you are the only girl I'll ever marry. 

Shirley. (Thinking deeply of her object) 
And I should meet the great financial king, John 
Burkett Ryder— 

(Enter Rossmore.) 

Jefferson. Ah, you mean your answer is — ^yes 
' — Shirley. (Takes her hand) 

Shirley. (Rises) I — I — don't know Jeff — I — 
(Sees her father) No — no — I can't — oh, Jeff, you 
don't know what I have to do. (Down l.) 

Rossmore. (Bus. leans against trunk) So little 
tires me now, I couldn't get any one. The trunks 
will have to stay down here. Perhaps I can get 
them up myself. 

Shirley. No — no — you must not — Father, this 
is Mr. Jefferson Ryder 

Rossmore. Ryder? The son of ? 

Shirley. Yes, father. 

Jefferson. Delighted to meet you sir can't you 
get anyone to move these trunks — well you just let 
me try 



THE LION AND THE MOUSE. 27 

Shirley. Certainly not. 

Jefferson. Oh, yes, I love to lift trunks. 

(Enter Eudoxia l.) 

RossMORE. (Feebly crosses l.) Shirley — he 
must go away — he cannot be permitted to — to 

Jefferson. (Mistaking his meaning) My dear 
sir, I have a gym record for lifting freights that 
most fellows envy. (Bus. of Jefferson lifting 
trunks) And I can throw a hammer farther than 
a Scotch policeman — where does this one go? 

EuDOXiA. Upstairs ! I'll show you. 

Jefferson. Shirley, if I could only carry your 
trunk on my back for the rest of my life, I'd be a 
happy man. 

EuDOXiA. Here young man, be careful or you'll 
seraph the walls. 

(Bus, for Jefferson. He exits zvith trunk a$ 
Stott, smoking, sees Jefferson with trunk.) 

Stott. Well, the game is on I see. 

RossMORE. My dear child, this gentleman is the 
son — of the man — who — who — he — I don't under- 
stand. 

Shirley. Neither do I, father — but you are 
right. He must go. (Crosses to around table) 

RossMORE. The son of John Burkett Ryder 
carrying my daughter's trunks. (Crosses to fire- 
place) 

Stott. Very edifying isn't it. Quite an example 
for rising young millionaires. Miss Shirley, I think 
I begin to see what you meant, when you said you 
were going to fight the Octopus. (Looks upstairs) 
Well, you got a good start. 

Shirley. No — (Shakes her head) That's a 
false start — I must begin again. 

Stott. Eh ? 



28 THE LION AND THE MOUSE. 

Shirley. Vm going to send him away. I can't 
ruin his prospects, and I'm not going to trifle with 
his — his love, I can't — Judge Stott — Oh, there must 
be other means of reaching his father than through 
him. I'll find them. (Enter Jefferson down- 
stairs, he begins to lift another trunk. To Stott) 
Go away for a while and take father with you. 
{Crosses to r.) 

Stott. Don't let him go — a bird in the hand 

Shirley. Am I your client? 

Stott. Am I your lawyer? 

Shirley. Yes, but do as I tell you. Mr. Ryder, 
please put that down. 

(Jefferson lowers trunk: then balances it again.) 

Stott. {Crosses to l.) Judge, I want to go 
over these papers with you. 

Rossmore. I don't vmderstand. {Points to 
Shirley) \ 

Stott. Neither do I. I'm her lawyer and my 
instructions are to mind my own business. {Bus. 
takes Rossmore ojf d. r. 2) 

Shirley. Mr. Ryder — Jefferson, I want you to 
put that trunk down and listen to me. (Jefferson 
c. Bus. drops trunk, comes down r. c.) You must 
go away from here, Jefferson, I refuse to separate 
you from your father and mother. Ah, it would be 
the acme of selfishness on my part, we have known 
each other such a short time. Another thing my 
father came here to get away from the world ; and 
you — you are adding to his unhappiness. 

Jefferson. Shirley, you don't mean that I must 
not come here again. 

Shirley. I do. My father believes that your 
father is in some way connected with his mis- 
fortunes. 

Jefferson., Mv father. Great heavens isn't 



THE LION AND THE MOUSE. 29 

there anything in this world that his fingers are not 
in 

Shirley. You must go for my sake. 

Jefferson. Ah, if you only knew how happy I 
was carrying that trunk. 

Shirley. Please go. 

Jefferson. I knew the announcement of my 
engagement would offend you. {Dozvn r. c.) 

Shirley. Yes, that's it. Your engagement has 
offended me very much. Her name linked with 
yours — her picture and yours — it's, it's 

Jefferson. {Back c.) But it isn't true. 

Shirley. Mr. Ryder, don't let us prolong this 
interview. My father is a disgraced man, your 
father has other plans. 

Jefferson. But I love you, Shirley. 

Shirley. You are engaged to another woman. 

Jefferson. Then I'll break it off. I'll go and 
tell my father that I'll marry no woman but you. 
{Crosses up r.) 

Shirley. It's no use. You must not come back 
here, you understand. We must be alone, father 
and I. Good-bye. 

Jefferson. But Shirley — {Back to her) 

Shirley. It's quite useless. You — ^you have 
dared to make love to me while your name is linked 
to that of another woman. Oh, any excuse will do, 
but you must go. 

Jefferson. But Shirley this Is not fair — why, 
this Is not fair. 

Shirley. It Is for the best believe me. Good- 
bye. 

Jefferson. And this Is really final? 

Shirley. Absolutely. 

Jefferson. {Draws a heavy breath) Good- 
bye 

(Shirley holds out her hand.) 



30 THE LION AND THE MOUSE. 

Shirley. Good-bye, Mr. Ryder — (Shakes hh 
hand and Htrns away, Jefferson looks at her lov* 
ingly and exits hastily) 

CURTAIN. 



ACT n. 



Scene: — Inner private library in the Ryder Man^ 
sion on Fifth Avenue. 

At Rise: — As curtain rises, the Hon. Fitzroy 
Bagley, a youthfid gentleman of middle age is 
giving instructions to Jorkins, a pompous 
butler. Senator Roberts, is reading a paper, 
sitting in armchair r. of fireplace, and Kate 
Roberts is looking at book-shelves l. c. 

Bagley. {Seated at table) Mr. Ryder will 
occupy this room on his return. 

Jorkins. Yes, sir 

Bagley. (Rises and moves dozvn-sfage) Station 
another man on the lower staircase Jorkins — yester- 
day it was left unguarded. Put the new man on the 
upper staircase. 

Jorkins. Yes, sir. (Exits c.) 

Bagley. We must be careful. (Unlocking a 
cabinet and taking from it a box of very large cigars 
^-examining them — crosses to Senator Roberts 
R. C.) Socialism is growing in this country — Do 
you know Senator, that last week a man dared to 
address Mr. Ryder as he was getting out of his 
carriage. (Handing him box of cigars) 

Senator. Ah — the famous Grandiosa — Thank 
you Bagley — I will — ah — (Has taken cigar and ex- 
amines it) What did you say about socialism? 

Bagley. Yesterday an attempt was made to 



THE LION AND THE MOUSE. 31 

snapshot Mr. Ryder. (Crosses back stage to r. c. 
Ajtd then down to bookcase) 

Kate. Snapshot Mr. Ryder? 

Bagley. Yes — with a Kodak — (Crosses to buffet 
and puts cigar back) and owing to the disgraceful 
inefficiency of the PoHce, the men got away with 
the negative. Had that occurred in any of the 
Capitals of Europe the man would have been rep- 
rimanded, and his camera taken away from him. 
In Russia he might have been shot. (Goes to chair 
with paper) 

(Kate moves down r.) 

Senator. In Patagonia he would probably have 
been roasted — and eaten but this is a civilized and 
free country, Bagley. 

Bagley. Free — but not necessarily civilized. 
Senator — (Business with list) You are sure your 
appointment with Mr. Ryder was at 4 : 30. I have 
no record of it. 

Senator. Then make one, Bagley, I must see 
him. (Rises, stretches himself) In the meantime 
I'll go and roll the billiard balls. I need exercise — 
(Bagley sits. Senator throzvs dozvn paper. Rises, 
crosses to l.) Oh, Bagley, I want you to do me a 
little favor. Judge Morris wants to see Mr. Ryder 
privately — Tell him to try downtown. 

Bagley. It's impossible Senator — ^he has so 
many appointments — everybody wants to see him 
privately 

Senator. He mi,8:ht as well try to see the 
Empress of China. (Up c.) Will you come to the 
billiard room Kate and watch your father roll up 
a hundred or so? 

Kate. No thanks, it took you an hour to roll up 
ten or so yesterday. 

Senator. Oh, indeed. (Exits c.) 



52 THE LION AND THE MOUSE. 

{As soon as Senator Roberts exits, Kate turns 
to Bagley, takes letter out of her pocket.) 

Kate. Mr. Bagley — {Crosses l.) I must beg 
you — to refrain from sending me any more notes 
like this. 

Bagley. {Rises) Why not? 

Kate. Because of my engagement to Jefferson 
Ryder. {Goes to bookcase, takes out various hooks 
under the pretext of looking for one in particular. 
This so as to give her an excuse for remaining) 

Bagley. {Comes around c.) Your engagement 
to Mr. Jefferson Ryder is, judging from appearance 
a most uncertain fact. {Crosses to r.) 

Kate. You must not judge from appearance, 
beneath an exterior of cold indifference Jeff and I 
may hide a passion that burns like a — Oh, like a 
volcano — you can't tell. {Sits on armchair) 

Bagley. Can't it — {Moves to r. c. to Kate) 
Why did you remain in here when your father went 
out? 

Kate. To tell you, that I cannot listen to you. 
{To bookcase, takes out hook) 

Bagley. But you are listening to me, Kate— 
your coldness is not convincing. Don't you know. 
{Moves up-stag e) 

Kate. You mean you think I want to listen to 
you? 

Bagley, I do. 

Kate. Mr. Bagley! 

Bagley. {Crosses to bookcase) A week ago 
you called me Fitzroy — once in an outburst of con- 
fidence you called me Fitz. 

Kate. You hadn't asked me to be your wife 
then — {Stoops in front of bookcase. Bus. takes out 
book — forgets that she has taken it out — fakes out 
another) 

Bagley. {Sighs) Very — well — Kate. {Over 
bookcase) I suppose it must be Miss Roberts-* 



THE LION AND THE MOUSE. 33 

Now that you have declined becoming the Hon. 
Fitzroy Bagley — {Leans on bookcase) not honor- 
able as conferred on a mere Congressman or other 
petty official, but a prefix on me by the law of 
hereditament in recognition of the fact that I am the 
third son of Lord Oxhurst 



Kate. (Rises) That has not been overlooked 
Mr. Bagley — but what can I do — there's my father 
—there's Mr. Ryder — there's Jefferson himself. 

Bagley. You need not think of him — ^he doesn't 
love you. (Moves c, crosses to armchair) 

Kate. Did he tell you so? (Takes oiit hook) 

Bagley. No, but he loves another woman. 

Kate. That's no reason why I should love an- 
other man. 

Bagley. No, perhaps not. Kate, do you realize 
that you are the most beautiful woman in tiie 
world. 

Kate. (Bus. with hooks) I do not 

Bagley. Well, you are 

Kate. I am not. 

Bagley. Perhaps m reality you are not, but I 
think you are, therefore to me, you are 

Kate. Oh, ridiculous 

Bagley. It is riditilous, but I can't help it. You 
haxe exercised almost a hypnotic influence over me ; 
you have so changed my ideas of beauty, of love, of 
marriage, that I now realize in you my perfect 
ideal. 

Kate. I cannot listen to you. 

Bagley. But you are listening to me — (Moves to 
Kate r. c.) 

(Enter Jefferson Ryder c.) 

Jefferson. I say Bagley — (Bagley crosses to 
desk — Kate drops hook) This house is getting 
more like a barracks every day — ^men all over the 
place. Hello, Kate. 



M THE LION AND THE MOUSE. 

Kate. How are you Jeff — I — I — (Looks at 
stack of books on fl or) I was looking at a book — 

Jefferson. (Looking at stack of books) I 
should say you were looking at several Hope I 
didn't interrupt. 

(Bagley goes to chair. Pause. They are all 

uncomfortable,) 

Kate. Oh, no — ^no; I almost found it. 

Jefferson. Let me help you — What was the 
name of the book? 

Kate. I — I — Oh, I forgot the name. That's 
what I was looking for— I could easily find the 
book if I could find the name of the book. (An 
uncomfortable pause) 

Jefferson. I just saw your fathei in the billiard 
room — (Bus. Bagley rises, goes up) Don't go, 
Bagley. 

Baglev. Fm not going 

Kate. No — don't leave us alone Mr. Bagley— 
That's what you mean, isn't it, Jefferson ? 

Jefferson. Why no. I don't mind being left 
alone. I want to be left alone. What I mean is I 
don't want to drive him out. 

Bagley. (Back to desk) I am not going out— 
This is your father's room — my place — is here. 

Jefferson. So is mine. I want to see him— 
Well, Kate 

Kate. Well, Jeff. 

(Bagley makes noise w'Jth inkstand.) 

Jefferson. Don't go Bagley 

Bagley. I'm not going. (Sits) 

Kate. No? I am ^omg-- (Crosses in front of 
Jefferson and up c.) I want to see my father play 
hilliards. He makes such beautiful round the table 
shots. 



THE LION AND THE MOUSE. 35 

Jefferson. Don't hurry away on my account, 
Kate. 

Kate. If you can restrain your ardor, you can 
follow me there — {Looks at the two men; in a spirit 
of mischief, calls) Jefferson 

Jefferson. {Goes to door c. Kate puts up 
mouth to he kissed. Jefferson, aside) Oh, no—' 

Kate. Yes — I want him to see 

Jefferson. Yes, but 

(Kate kisses him — Bagley bus,) 

Kate. We are perfectly satisfied — {With a show 
of love that she does not feel) aren't we, Jeff. 
Jefferson. Perfectly — perfectly — {Sighs) 

(Bagley business and turns chair very madly and 
reads paper, Kate laughs tantalizingly and 
exits c.) 

Jefferson. I say Bagley, I ran into three men 
just now, one on each stairway — I can't turn a 
comer without running into somebody — it reminds 
me of the time I was learning to skate — {Down r. 
to chair) 

Bagley. Your father's personal safety demands 
the utmost precaution. We cannot leave the life of 
the richest and most powerful financier in the world 
at the mercy of the rabble 

Jefferson. What labble? {Gets paper from 
chair, comes c. and looks it over) 

Bagley. The ^^merican people ! 

Jefferson. The American people are all right. 

Bagley. {Seated at corner of table reading) 
Jefferson, for four years, I was third groom of the 
bed chamber of the second son of the Royal Family. 
I know my responsibilities. 

Jefferson. You're all right Bagley, old man — 



36 THE LION AND THE MOUSE. 

No one can arrange a menu or a dance as you can^- 
but — there are other things — (Crosses to desk) 

B.-g:.ey. Do you know, sometimes I think I don't 
understand you. 

Jeffer.cn. Do you knov/ sometimes I think you 
don't — When co you expect father? 

Bagley„ Ydu can't see him till dinner. He has 
three appointments — General Dodge, the chairman 
of the National Republican Committee, and Senator 
Roberts 

Jefferson. But I must see him 

Bagley. I'm afraid it's impossible — I must ask 
you to remember that this is his sanctum sanctorum 
and that he sees no one here without an appoint- 
ment. 

Jefferson. Oh — (Crosses r. c.) 

(Enter Mrs. John Ryder. She is dressed to go 
out driving. She is putting on gloves. Bagley 
rises, stands in front of chair.) 

Mrs. Ryder. Ah — Mr. Bagley — they said you 
were here — Jefferson dear — (Bus. Bagley assumes 
a dcfferential attitude) — this is unexpected — (Kisses 
him) Kate is in the billiard room. 

Jefferson. Yes — we just had a chat — How are 
you, mother? 

Bagley. Can I do anything for you, Mrs. Ryder ? 

Mrs. Ryder. (Bits, with letter) Y^ — Admiral 
Holly wants an interview with Mr. Ryder — (To 
desk) Get it for him — (Bagley has business) 
There's a dear fellow — (Bus. Pagley takes letter) 
And here is the answer from that authoress woman, 
Sarah Green — I wro^c to her as Mr. Ryder re- 
quested — me 

Bagley. Yes 

(Jefferson sits r. c.) 



THE LION AND THE MOUSE. 37 

Mrs. Ryder. (Looking at letter) She will be 
here at 4 : 30 this afternoon. I can't see her 

Bagley. Mr. Ryder will ; he is most anxious to 
see her ; in fact he has mentioned the matter twice 
which means a great deal to him. 

Jefferson. Sarah Green ? Isn't that the woman 
authoress of whom everybody is talking? 

JMrs. Ryder. It's the wor.an who had the im- 
pertinence to put your father into a book and call 
it " The Great American Octopus." Haven't you 
read it? 

Jefferson. No, I know father pretty well with- 
out reading him up. 

Mrs. Ryder. (Crosses r. to chair) Here is the 
letter Mr. Bagley ; Mr. Ryder told me that he had 
written her himself; but that her replies were not 
satisfactory. (Crosses r., Jefferson rises^ goes c. 
and then to chair at fable) 

Bagley. (Looking over letters) Not satis- 
factory! They were frightfully rude 

Mrs. R\-DfLP. Really, and what was her replies r 
(Sits R.) 

Bagley. They are the grossest exhibition of 
feminme boldness it has ever been my lot to 
encounter. 

Jefferson. And look at the experience he has 
had. Four years he was third groom of the bed 
chamber of the second son of the Royal Family. 

Mrs. Ryder. Jefiferson 

Bagley. Mr. Ryd<^i, after he had read the book 
to this woman and aslr^d hor to call upon him — This 
is her repl}^ — Dear Sir: — I do not call upon gentle- 
men, at their business offices, Yf nrs, etc. — Sarah 
Green, per M. G. What d<^es s* - mean by that? 

Jefferson. Good for Green! 

Bagley. Did you ever hear such effronterv — 
Then follow another letter from Mr. Ryder asking 
her to call here. (Bus. with letter) — to which this 
reply: — "Am sorry I am unable to comply with 



38 THE LION AND THE MOUSE. 

your request, as I prefer the invitation to call at 
your private residence should come from MrSc 
Ryder." Good God — can you imagine such a thing 
possible. 

Jefferson. What did the " Great American 
Octopus " say to that ? 

Bagley. I do not care to repeat Mr. Ryder*s 
remarks 

Mrs. Ryder. Your father asked me to write — I 
dictated a note to my secretary and Miss Green 
has done me the honor to accept my invitation. 

Bagley. But how — {Waving letter angrily) by 
a typewritten acknowledgment, condescending to 
accept an honor that the entire world would go on 
their knees to receive a mere acknowledgment — 
typewritten ! Ah, it is ridiculous — simply supremely 
ridiculous 

Jefferson. Well, for my part, I admire the 
woman's independence 

(Enter Jorkins, c.) 

JoRKiNS. Mr. Bagley, Mr. Ryder is here, sir 

Bagley. {Flustered) Oh — oh — are the men at 
their post Jorkins? 

JoRKiNS. Yes, sir 

Bagley. Er — I — er — I think I'll go and meet 
him. {Crosses to c. back of desk) Excuse me, 
Mrs. Ryder — I'll — I'll tell him you are here — {Exit 
c. D., foUozved by Jori^xa.:) 

Jefferson. Mothc, can you imagine such a 
thing as that possible in this country? 

Mrs. Ryder. Mr. Bagley — Mr. Bagley is a 
treasure 

Jefferson. In Europe perhaps, but here he's — 
(Rises and crosses to r. c.) 

Mrs. Ryder. He is the son of Lord Oxhurst, 
and he understands the social fabric to perfection-^ 
Our entourage would be most incomplete without 



THE LION AND THE MOUSE. 39 

him — he knows everything that a gentleman should 
know. 

Jefferson. And a little more — He wasn't a 
groom of the back stairs for nothing — (c. and then 
back to Mrs. Ryder. Shrugs shoulders) He rubs 
me the wrong way — Mother, I've been w^anting to 
talk to you lately 

Mrs. Ryder. Sorry I must go, dear — {Rises and 
crosses to l. c.) Mrs. Patson is waiting, and 

Jefferson. Now mother, can't you give me just 
a moment 

Mrs. Ryder. Jefferson, dear, what is the matter. 
You haven't been the same since your return from 
Europe. I'm afraid you are still thinking of that 
Rossmore girl. I had hoped that was over and done 
with. 

Jefferson. It isn't. And I'm afraid it never 
can be. God knows I've tried hard enough to forget 
her — I want to speak to you about her — I want to 
tell father that I cannot marry Kate Roberts ; it isn't 
fair to Kate to marry her with another girl in my 
heart. 

Mrs. Ryder. My dear boy, I sympathize with 
you, but what can I do ? He has made up his mind, 
and once that is done — I'm afraid he won't listen 
to anyone — not even to me 

Jefferson. I want to avoid a scene with father 
— {Down R.) and — if I speak we are sure to 
quarrel 

Mrs. Ryder. Then I'll speak to him. {Goes to 
him R.) I'll tell him that you love this other — 
{Pause, as if afraid) No — I won't do that — I'll 
tell him you can't mairy — Kate — At least not at 
present — (Bagley opens c. auor rnd stands l. c. 
JORKINS brings on box whiih le places on chair 
down L. and back of chair and stands l., then goes 

off) I'll— I'll hint at it 

Ryder. {Off) Attend to it Jorkins. 
JoRKiNS. {Outside) Very well, sir 1 



40 THE LION AND THE MOUSE. 

Mrs. Ryder. You really think 1 had better speak 
to him? 

Jefferson. Please mother, 

Ryder. Down town. 

Mrs. Ryder. I don't know. {Nervously. Bus, 
both turn and look at door nervously) Perhaps 
after all, you had better tell him yourself. 

Jefferson. I have told him, Mother, but he 
doesn't listen. He just pays no attention. 

{Enter John Burkett Ryder.) 

Ryder. Ah, Jefiferson, my boy — {Goes to desk 
t'. io ]\Iks. Ryder) How do you do, my dear — this 
is an unlocked for pleasure. (Bagley shows card 
— bus. looks at card) I can't see Governor Rice — 
{To Bagley) Tell him so. 

Bagley. Yes, sir. {Bus. tells Jorkins, who 
exits c.) 

Ryder. {To Mrs. Ryder) Going out driving, 
dear? I saw the carriage at the door — {Patise) 
Well, can I do anything for you? 

Mrs. Ryder. {Nervously) Er — yes — Jefiferson 
tells me — I — (Ryder sits down — pczise) Er — per- 
haps some time later 

Jefferson. Mother 

Ryder. My list, Bagley- 



Bagley. Yes, Mr. Ryder, I have it. {B^is. gives 
the list, then goes to cabinet and gets box of cigars) 

Mrs. Ryder. Suppose you come for a little ride, 
John. Give up work for to-day. 

Ryder. Impossible, my dear — simply impossible. 

Mrs. Ryder. {Aside to Jefferson) I don't 
think I'll mention the matter to him now — {Looks 
at Ryder) It seems hardly the moment. (To 
Ryder) Good-bye, dear! (Jorktns enters c. zvifL 
card — hands same to Bagley, holds door open for 
]\Trs. Ryder. To Jefferson) Better not say any 
\\\\r\g to him just at this moment. It's not propitious 



THE LION AND THE MOUSE. 41 

— I know him better than you do — Good-bye, dear 
—good-bye, John. (Exits c. d.) 

Ryder. Oh, good-bye — good-bye — ^good-bye — 
(Bagley hands card to Ryder) Downstairs? 

JORKiNS. Yes, sir 

Ryder. (To Jefferson) Did you ask General 
Abby here ? 

Jefferson. Yes, sir — ^he wanted to see you — 1 
promised— (Cro^i-^^- to desk) 

Ryder. (To Jorkins) Downtown — to morrow 
— any time 

(Bagley gives card to Jorkins — who exits, Bagley 
back to desk.) 

Jefferson. That means — no time — General 
Abby is not a politician, he is a soldier and one of 
the finest men we have in the army to-day. 

Ryder. I shall be pleased to see him — down- 
town — if I can spare the time. 

Jefferson. If he were a politician 

Ryder. As he isn't we won't pursue the matter. 
One of these days my dear boy you'll learn that 
listening to other people's business makes you for- 
get your own. (To Bagley) And any word from 
the Green woman. 

Bagley. (Hands letter to Ryder) She is going 
to call at half-past four 

Ryder. Half-past four — eh? (Bus. looks at 
Jefferson, sees that he is still in room) Do you 
want to see me, Jefferson ? 

Jefferson. Yes, sir. (Firmly) I do — (Satiri- 
cally) if you can spare the time 

Ryder. Well, to be perfectly frank with you — I 
can't — but I will — (Bus. zvith Shirley's letter — to 
Bagley) Um — typewritten — when she comes show 
her in here — what else have I for this afternoon? 
(Bagley hands list) The National Republicar 
Committee can wait. Senator Roberts — not now— 



42 THE LION AND THE MOUSE. 

let him stay in the biUiard room — I expect Chief 
Ellison of the Secret Service Bureau from Wash- 
ington — put him off till to-night — well Jefferson, 
what is it ? What is it ? (Bus. Jefferson hesitates 
' — looks at Bagley, motions him to go) 

Bagley. {Rather annoyed) Perhaps you'll ex- 
cuse me? 

Jefferson. That's a happy thought. 

(Bagley hows and exits c.) 

Ryder. I've had a very busy day, Jeff — ^What 
with Trans-Continental and Trans-Atlantic and 
Pacific I feel like Atlas shouldering the world 

Jefferson. Well the w^orld isn't intended for 
one pair of shoulders to carry. {Bus. of Jeffer- 
son) 

Ryder. Why not? Julius Csesar carried it — 
Napoleon carried it to a certain extent, so did— 
However — we won't go into that now. What is it, 
boy? 

Jefferson. That's just it, father. I'm no longer 
a boy — it's time to treat me as if I were a man — 
{Sits R. of desk l.) 

Ryder. Oh, dear — {Lays hack in his chair as if 
resigned) Well, my good man, what is it? 

Jefferson. Father, I want you to take me 
seriously 

Ryder. {Biis. with papers) Go on, damn it all, 
be serious, if you want to — only don't take so long 
about it. What Is it? Understand one thing. I 
want no preaching, no philosophical twaddle. No 
Tolstoi, he's a great thinker, and you're not — No 
Bernard Shaw — he's funny and you're not — Now, 
then, go ahead 

Jefferson. I suppose I should have spoken be- 
fore 

Ryder. {Breaking in) You asked me once why 
the wage of the idle rich was wealth, and the wages 



THE LION AND THE MOUSE. 43 

of hard work was poverty, and I told you that I 
worked harder in one day than a tunnel digger in a 
lifetime. Thinking is a harder game than any, and 
you must think or you won't know. Napoleon knew 
more about war than any living man to-day, and 
the man who knows is the man who wins ! The man 
who takes advice isn't fit to give it, that's why I 
never take yours, now then, go ahead with your 
story 

Jefferson. Father, you have done me an in- 
justice. 

Ryder. An injustice? — Ye Gods — I have given 
you the biggest name, the biggest income and the 
most colossal gigantic fortune ever collected by 
mortal man is waiting for you 

Jefferson. Yes — (Rises) At the expense of 
my liberty. You robbed me of my right to think, 
for ever since I was old enough to think, you have 
thought for me. Ever since I was old enough to 
choose youVe chosen for me. You think, choose 
and will for everyone in this house; everyone who 
comes in contact with you. Yours is an influence 
none seem able to resist — ^you have chosen that I 
should marry Kate Roberts, and it is on that point 
I want to speak. Father — I — (Ryder looks at 
Jefferson for the last time) It*s an injustice to 
her and I — I can't — I won't do it, that's all. 
(Crosses to r. c.) 

Ryder. So — you're going to — to — withdraw — 
eh? (Softly and 7vith some affection — comes 
around front of tah'^e and crosses to Jefferson c.) 
Don't be a fool. Jeff ; I don't want to think for you 
or choose for you ; or marry for you ; but I know 
so much better than you what is best for you ; be- 
lieve me I do ; don't be obstinate. Kate's father has 
more influence in tlie Senate than any dozen others. 
Hang it all — you like Kate. You told me so, and I 
thought — (Suddenly hack at desk) It isn't that 
Rossmore girl, is it ? If I thought Judge Rossmore's 



44 THE LION AND THE MOUSE. 

daughter — oh, well, you know what is going to hap- 
pen to him — don't you? — (Sits at desk) 

Jefferson. I know what he is accused of and 
I — want to be of some assistance to him. I want to 

go away from here 

Ryder. (Striking desk) That man — he has al- 
ways opposed me ; he has defied my — my authority, 
and now his daughter — his daughter has entrapped 
my son — so you want to go to her, eh? Well, 
marry Kate or not — as you please — but I want you 
to stay here — (Sees Jefferson's objection — softly) 
you need me, my boy, yes you do — You mustn't go 
away — You're the only flesh and blood tie I have. 
You see my weakness — you know that I want you 
with me, and you take advantage — ^you take ad- 
vantage. 

Jefferson. No, father, I don't. But I want to 
go away — I want to go some place where I am free 
• — some place where I can meet my fellow men 
heart to heart, on an equal basis, some place where 
I'm not pointed out as the son of Ready Money 
Ryder, the richest man in the world. (Goes c.) 
I think I'll go West, study law and become a lawyer. 
Ryder. Why not go to church, study Theology 
and become a preacher? No, my lad you stay here 
— Study my interests — study the interests that will 
be vours some day — watch which way the cat jumps 
and jump with it. 

Jefferson. I'd rather go 

Ryder. Then go, damn it, go — I'm not fool 
enough to suppose I can keep you here against your 
will or make you marry any girl; you don't want 
to, but I can prevent your throwing 3^oiirself away 
on the daughter of a man, who is about to be publicly 
disgraced — ^by God, T will. 

Jefferson. Poor old Rossmore — (Crosses to 
desk) If the inside history of every financial 
transaction were made known, how many of us 
would escape public disgrace? Would you? 



THE LION AND THE MOUSE. 45 

Ryder. (^Rises, walks violently up and dozvn) 
Upon my word — ^you are the most aggravating — ■ 
you — it's no use disinheriting you because you 
wouldn't care — (Jefferson comes to c.) I think 
you'd be glad of it — Upon my soul I do — Jefferson, 
will you give me your word of honor, your object 
in going away is not to find the girl and marry her ? 
I don't mind your losing your heart, but damn it all. 
don't lose your head. {Crosses to him c.) Come, 
give me your hand or that 

(Jefferson holds o>4t hand reluctantly.) 

Ryder. If I thonghi. it was the Rossmore woman 
I'd have her father sent out of this country and the 
woman too 

Jefferson. It is not — (Pulls hand away 
abruptly) 

Ryder. You know I trust you Jeff — now think 
it over about Kate — and don't decide hastily — 
(Turns upstage and walks zvith him then back to 
desk) There, there now, run away; there's a good 
lad, for I have to study the advance report of the 
Inter Railway Commerce-Commissions and get it 
back to Washington to-night. (Ryder holds up 
a typewritten document) 

Jefferson. Do you mean to say that you see it 
before the Senate or the 

Ryder. (Reading document) Take a tip from 
Washington, my boy, and jump with the cat. At 
present I'm the cat. 

(Enter Bagley c.) 

Bagley. Will you see Miss Green now? 

Ryder. Ah — yes — show her in — (Exit Bagley 
C.) Think it over Jefferson— — 

Jefferson. I have thought it over — and 1 have 
decided to go 

Ryder. Think it over agrain— — 



46 THE LION AND THE MOUSE, 

Jefferson. It's no use; my mind is made up. 
(Exits c.) 

Ryder. (Bus. glances over document; then 
comes to a paragraph that apparently atmoys him — 
Telephone rings — throws down document — seises 
telephone on table — listens a moment) Mr. Ryder 
is out — (Pause) He's busy — (Phone rings again — 
shuts off telephone — picks up document) 

JoRKiNS. (Announces quietly) Miss Green, sir. 

(Enter Shirley c. She watches Ryder — Ryder 
smokes hard, throzvs dozvn the document ana 
sees Shirley looking at him — he is evidently 
surprised at her youth — and takes the cigar out 
of his mouth and rises.) 

Shirley. Oh, please go on smoking— -I don't 
mind it in the least. i 

Ryder. Thank you. (Throws cigar in ash tray 
on desk — looks closely at her) Are you Miss 
Green? 

Shirley. That's my non-de-plume, yes. Are you 
Mr. Ryder? 

Ryder. Yes, won't you sit down ? 

Shirley. Thank you. (Sits opposite him at 
table) 

Ryder. (Inspecting Shirley very closely) I 
rather expected — you're younger than I thought you 
were, Miss Green, much younger. 

Shirley. Time will remedy that — T rather ex- 
pected to see Mrs. Ryder. (Bus. zvith letter) 

Ryder. Yes — she — wrote — ^but — T — I — wanted 
to see you — (Bus. picks tip book) — about — this 

Shirley. Oh, have you read it? 

Ryder. I have — I — er — T am sure your time is 
valuable — so I'll come straight to the point— I wanf: 
to ask you where you got the character of the central 
figure ; the Octopus, as you call him, John Broderick. 

Shirley. From imagination, of course. 



THE LION AND THE MOUSE. 47 

Ryder. You've sketched a pretty big man here— 
{Bus. opens book at marked placed) 

Shirley. He has big possibiHties — but I think 
he makes very small use of them. 

Ryder. On page 22, you call him the greatest ex- 
amplar of individual human v^ill in existence to- 
deiy. And you make indomitable will and energy 
as the keystone of his marvellous success. 

Shirley. Yes. 

Ryder. On page 28 you say " The machinery of 
his money-making mind typifies the laws of 
perpetual unrest — it must go on — ^go on — -relent- 
lessly — resistlessly — making money — making money 
— and continuing to make money — it cannot stop 
until the machinery crumbles. Do you mean to say 
I couldn't stop to-morrow if I wanted to ? 

Shirley. You? 

Ryder. Well — it's a natural question — every man 
sees himself in the hero of a novel, as every woman 
does in the heroine — we're all heroes and heroines 
in our own eyes — I'm afraid — (Shuts book) but 
— what's your private opinion of this man you 
drew the character. What do you think of him as 
a type; how would you classify him? 

Shirley. As the greatest criminal the world 
ever produced. 

Ryder. Criminal ? (Astonished) 

Shirley. He is avarice — egotism — and ambi- 
tion incarnate — he loves money becau? i he love3 
power better than manhood or womanhood 

Ryder. Um — rather strong 

Shirley. Of course, no such man really ex- 
isted. 

Ryder. Of course not. (Looks closely at her to 
see if she is conscious but she appears not to see 
him. Then business — looks through book. He is 
thoughtful) 

Shirley. But you didn't ask me to call merely 



48 THE LION AND THE MOUSE. 

to find out how I liked my work. That sounds like 
an interview in a Sunday paper. 

Ryder. (Laughs) No — I want you to under- 
take a little work for me. (Opens box) I want 
you to put my autobiography together from this 
material — (He takes out several voluminous fools- 
cap documents, ninnher of letters, etc., which he 
places on the table) I want to know — where you 
got the details of that man's life. (Sits down, 
takes up book) 

Shirley. For the most part, imagination — news- 
papers — magazines — ^you know the American Mil- 
lionaire is a very overworked topic — and naturally 
I've read 

Ryder. Well, I refer to what you haven't read ; 
what you couldn't have read ; this is what I mean — 
(Bus. turns back to book) "As evidence of his 
petty vanity, when a youth he had a beautiful Indian 
girl tatooed just above his forearm." Now who 
told you I had my arm tatooed when I was a boy? 

Shirley. Have you? Why, what a coincidence. 

Ryder. (With sarcasm) Yes — well — let me 
read you another coincidence. (Reads from book) 
** The same eternal long black cigar between his 
lips." 

Shirley. General Grant smoked — all men who 
think deeply along material lines smoke 

Ryder. Well — well — let that go — how about 
this ? " John Broderick loved when a young man a 
girl who lived in Vermont, but circumstances 
separated them." I loved a girl when I was a lad 
and she lived in Vermont, and circumstances 
separated us — that isn't a coincidence — for presently 
you make John Broderick marry a young woman 
who had money — I married a girl with money and — 

Shirley. Lots of men marry for money 

Ryder. (Sharply) I said with money, not for 
money — ^but this, this is what I can't understand^ 
for no one could have told this but myself — (Reads) 



THE LION AND THE MOUSE. 49 

" With all his physical bravery, and his personal 
courage, John Broderick was intensely afraid of 
death. It was in his mind constantly." (Rises) 
Who told you that? I — I've never mentioned it to 
a Hving soul. 

Shirley. Most men who amass money are afraid 
of death, because death is about the only thing that 
can separate them from their money. 

Ryder. Why, you are quite a character. (Both 
laugh) This fellow Broderick is all right, but I 
don't like his finish. (She laughs — then both laugh 
together) 

Shirley. It's logical. 

Ryder. You're a curious girl — upon my word — 
you interest me — I want you to make as good a book 
of this chaos as you did out of your own imagina- 
tion. (Takes more manuscripts out of box) 

Shirley. So you think your life is a good ex- 
imple to follow. (Looking carelessly over papers) 

Ryder. Isn't it ? 

Shirley. Suppose we all wanted to follow it, 
suppose we all wanted to be the richest, the most 
powerful personage in the world 

Ryder. Well?^ (Back of desk) 

Shirley. I think it would postpone the Era of 
the Brotherhood of Man, indefinitely — don't you? 

Ryder. I never looked at it from that point of 
view — (Sits) You're a strange girl — ^you can't be 
more than twenty or so? 

Shirley. I'm twenty- four — or so ] 

Ryder. Where did you get these details ? Come, ' 
take me into your confidence. 

Shirley. I have taken you into my confidence 
and it cost you a dollar and a half. (Points to 
hook, then bus.) I'm not so sure about this 

Ryder. You don't think my life would make 
good reading? — 

Shirley. It might. (Looking over papers) 
But I don't consider mere genius in money making 



50 THE LION AND THE MOUSE. 

IS sufficient provocation for rushing into print— 
You see unless you came to a bad end, it would 
have no moral 

Ryder. Upon my word — I don't know why I'm 
so anxious to have you do this work. I suppose it's 
because you don't want to — you remind me of my 
son — ah — he's a problem 

Shirley. Wild ? 

Ryder. No, I wish he were. 

Shirley. Fallen in love with the wrong woman, 
I suppose. 

Ryder. Something of the sort — How did you 
guess ? 

Shirley. Oh, I don't know. So many boys do 
that — besides I can hardly imagine that any woman 
would be the right woman unless you selected her 
yourself. 

Ryder. Do you know you say the strangest 
things ? 

Shirley. Truth is strange, isn't it ? I don't sup- 
pose you hear it very often. 

Ryder. Not in that form 

Shirley. {Bus. zvith letters) All these from 
Washington consulting you on politicks and finance. 
They won't interest the world. 

Ryder. Your artistic sense will tell you what to 
use. 

Shirley. Does your son still love this girl? 

Ryder. No. 

Shirley. Yes, he does. 

Ryder. How do you know ? 

Shirley. From the way you say he doesn^t 

Ryder. You're right again — the idiot does love 
her. 

Shirley. (Aside) Bless his heart — {Aloud) 
Well, I hope they'll both outwit you 

Ryder. {Laughs, more interested in her than 
ever) Do you know. I don't think I ever met any- 
one in my life quite like vou. 



THE LION AND THE MOUSE. 51 

Shirley. What's your objection to this girl? 

Ryder. Every objection. I don't want her in my 
family. 

Shirley. Any thing against her character ? (Bus. 
with papers to hide interest) 

Ryder.- (Back to desk) Yes — no — not — that I 
know of, but because a woman has a good character, 
that doesn't necessarily mean that she should make 
a desirable match, does it? {Starts back to chair) 

Shirley. It's a point in her favor, isn't it? 

Ryder. Yes — es — ^but •■ 

Shirley. You are a great student of men, 
aren't you, Mr. Ryder? 

Ryder. Yes — I — (In front of chair) 

Shirley. Why don't you study women ? That 
would enable you to tmderstand si great many things 
that I don't think are^quite clear 10 you now 

Ryder. (Standing) I will — I'm studying you — 
but I don't seem to be making much headway — 
(Sits) A woman like you whose mind isn't eaten 
up with the amusement habit has great possibilities, 
great possibilities. Do you know you're the first 
woman I ever took in my confidence? 1 mean at 
sight — I'm acting on sentiment — something — I 
rarely do. I don't know why — I like you, upon 
my word, I do, and I'm going to introduce you to 
my wife — my — son — (Bus. with telephone) And 
you're going to be a great friend of theirs. You 
are going to like them — You 

Shirley. What a commander in chief you would 
make. How natural it is for you to command. I 
suppose you always tell people what they are to do, 
and how they are to do it. You are a natural bom 
general. You know, I've often thought that a 
Napoleon and Caesar and Alexander must have been 
domestic leaders as well as Imperial Rulers. I am 
sure of it now. 

Ryder. (Nonplussed) Well — of — all — (Gets 



52 THE LION AND THE MOUSE. 

up one step from chair and hows) Will you please 

do me the honor to meet my family 

Shirley. {Smiling sweetly) Thank you, Mr. 
Ryder — I will — {Looks at paper to conceal de- 
light) 



t 



(Ryder shakes his head, gives her up as a conun- 
drum.) 



Ryder. (At telephone) Hello, hello, is that you, 
Bagley? (A pause) Get rid of General Dodge. I 
can't see him to-day. I'll see him to-morrow at the 
same time. (Hangs up) Eh? (Shirley bus. 
with papers, startled, nearly drops, utters a slight 
cry) What's the matter? 

Shirley. Nothing — nothing — (Aside, looks at 
Ryder — tries to abstract letter from papers, but he 
casually catches her eye — This bus. most important 
— she pretends to he indifferent when Ryder looks 
at her) 

Ryder. (To Shirley) Well, well, consider the 
matter settled — when will you come? 

Shirley. (In a peculiar hoarse voice, showing 
she is under a strain) You want me to come here? 
(She is frightened, looks at letter then at Ryder — 
he catches her eyes, leans on desk, then at letter 
she is reading) 

Ryder. Yes, I don't want these papers to get 
out of the house — hello, what's that ? Excuse me — ■ 
(Sees that she is reading and realises it is an im- 
portant private paper, takes it away from her) 
How on earth did they get there — Curious — they're 
from the very man we were speaking of — (Takes 
keys out of pocket and opens drazvers) 

Shirley. You mean Judge Rossmore? 

Ryder. (Suspiciously) How do you know it 
was Judge Rossmore? I didn't know his name was 
mentioned. 

Shirley. I saw his signature 



THE LION AND THE MOUSE. 53 

Ryder. Oh — {Locks letters in drawer) 

SiiiRLEY. He's the father of the girl you dishke, 
isn't he? 

Ryder. Yes — he's the — the — {Ends sentence 
with a gesture of impatient anger) 

Shirley. How you hate him. 

Ryder. Not at all. I disagree with his politics 
and his methods — and I know very little about him 
except that he is about to be removed from office. 

Shirley. Oh — about to be — {Rises and drops 
paper) Then it is decided even before he is tried — 
{Starts to pick up papers) 

Ryder. No, no, allow me. {Picks up papers and 
goes hack to box for papers) 

Shirley. If I remember correctly some of the 
newspapers seem to think he is innocent of the 
charge of which he is accused 

Ryder. {Thoughtfully) Perhaps 

Shirley. In fact most of them are on his side. 

Ryder. Yes. 

Shirley. Whose side are you on? Really and 
truly 

Ryder. Whose side am I on? I — Oh, I don't 
know that I am on any side — I don't know that I 
give it much thought — I 

Shirley. Do you think this man deserves to be 
punished ? 

Ryder. Why do you ask? {On feet) 

Shirley. I don't know — it interests me — {Try- 
ing to he calm) That's all — it's a romance — ^your 
son loves the daughter of this man ; he's in disgrace, 
many seem to think unjustly. {With some emotion) 
And I have heard from some source or other — you 
know I — {With great caution, hut keeping the fact 
from Ryder) know a great many newpaper men, 
in fact, I have done newspaper work myself — I 
have heard that life has no longer any interest for 
him — that he is not only disgraced but beggared; 
tVat he is pining aw«^ — slowly dying of a broken 



54 THE LION AND THE MOUSE. 

heart. (Sits all through this scene — she tries to be 
light) Ah, why not come to his rescue — You who 
are rich, so powerful 

Ryder. My dear girl— you don't understand — 
Iiis removal is a necessity. 

Shirley. You think this man is mn-^ciint. 

Ryder. Even if I knew it, I couldn't mcve. 

Shirley. Not if you knew? Do you mean to 
say if you had the absolute proof you couldn't help 
him? 

Ryder. I could not betray the men who have 
been my friends — it's 

Shirley. Oh, it is politics— that's what the papers 
said and you believe him innocent — (Laughs) Oh, 
I think you are having a little joke at my expense 
just to see how fai you can lead me. I dare say 
Judge Rossmore deserves all he gets — Oh, yes, he 
deserves it. (Ryder watches her curiously) Please 
forgive me — I — (Laughs to conceal emotion) It's 
the artistic imaginative temperament in full work- 
ing order — a story of hopeless love between two 
people — with the father of the girl hounded by 
politicians and financiers. It was too much for one 
- — ha! ha! I forget where I was. (She watches 
Ryder furtively — yiervous — wipes perspiration from 
face — Crosses r.) 

(Senator Roberts followed by Kate enters c, 
comes down, Kate on l.) 

Senator. I assumed the privilege of an old 
friend and passed by the guard, Kate gave Bagley 
a countersign and got through with it. 

Ryder. Glad to see you Senator. Sorry to have 
kept you waiting — Miss Green allow me to introduce 
Senator Roberts and Miss Rohevts— (All bozv) 
Senator, this is the young woman who — (Shows 
book) She is the one who did it. 

Kate. Oh, really — (Crosses to desk) 



THE LION AND THE MOUSE. 55 

Senator. God bless my soul! You don't say 
so ! So young and so — so — indeed this is an unex- 
pected pleasure — {Crosses r.) Did you know that 
your book has been quot'^d in our Senate Chamber 
by one of the Populist Members, as the mirror in 
which a commercial Octopus could gaze upon him- 
self 

Shirley, (r. c.) Really — I- 



Ryder. (Taps bell) I'll order some tea — you*d 
like a cup of tea — wouldn't you Miss Green, so 
would you Kate. 

Kate. Tea in the sanctum sanctorum — What 
will Mr. Bagley think — Father, do you hear? 

Senator. Yes, but I prefer soda and whiskey-^ 
(Crosses l. c.) 

Kate. Miss Green if you only knew what eX" 
cepional honors were being heaped upon us— 

(Enter Jorkins.) 

Ryder. Tea — Jorkins — here 



(Enter Jefferson.) 



Jorxins. Here, sir? 
Ryder. Yes, here 



(Exit Jorkins.) 

Jefferson. Excuse* tny interrupting, Father, but 
I leave to-morrow and before I go — (Down to l. 
to R.) 

Ryder. We'll talk about that to-night — I want 
you to meet Miss Green. Miss Green, this is my 
son, Jefferson — (Looks at paper on desk) 

Jefferson. (Starts) *Miss Green 

Ryder. Yes, Miss Green, the writer — (Going 
up) 

Shirley. I am pleased to meet you, Mr. Rvder. 



56 THE LION AND THE MOUSE. 

{Holds out her hand — he is dumbfounded — stares 
at her face — he doesn't see her outstretched hand) 

Ryder. {Rather amazed) Why don't you shake 
hands with her — She won't bite you — {Crosses up 
and R. c. Shirley and Jefferson shake hands) 
Kate — Miss Green — (Kate comes down r. c.) I 
want you to know this Httle girl very well — she's 
going to be my son Jefferson's wife — {The girls 
smile at each other) And I want you to look after 
Jefferson — (Enter Bagley c, followed by Servant 
with tea tray. To Shirley) I want you to talk to 
him the same as you did to me — {Bus. with 
Roberts) 

Jefferson. Shirley- 



Shirley. Miss Green 

Jefferson. Miss Green, may I get you some tea. 

Shirley. Thank you — yes 

Ryder. Senator, the young man has a will of 
his own — but he will come to our way of thinking 
^-he'll come around 

Jefferson. Sugar ? — 

Shirley. One lump please — (Jefferson brings 
down tea) and later on I want to get the key of 
that left hand corner drawer 

Jefferson. Father's private desk? 

Shirley. Hush 

Jefferson. {Crosses to Ryder) Father, I've 
changed my mind — I'm not going away — {Business) 

CURTAIN. 



THE LION AND THE MOUSE. 57 



ACT III. 



At Rise: — Music, 



DISCOVERED: — Ryder at bookcase R. looking 
over stock list and books. As curtain rises he 
crosses to L. gets a cigar from box on table; 
lights it as he starts to cross r. 

{Enter Mrs. Ryder.) 

Mrs. Ryder. I'm so glad you are alone dear. I 

just want a few words. 

Ryder. Very well then I'll — (Starts to throw 
azvay cigar in fireplace) 

Mrs. Ryder. (Hesitates) Go on smoking. 
Don't mind me. 

Ryder. Thank you — well • 

Mrs. Ryder. Oh, dear! 

Ryder. Is there anything I can do for you my 
dear. (Shakes her head) 

Mrs. Ryder. I wanted to speak to you about — 
about Jeff — (Bus. — Ryder shozvs impatience) Now, 
give me five minutes John — the boy is so unhappy 
—He wants to please us, but 

Ryder. But he insists upon pleasing himself ■ 

Mrs. Ryder. I'm afraid his affection for Miss 
Rossmore is deeper than you realize 

Ryder. Miss Rossmore. I am sorry my dear, 
that you seem inclined to listen to Jefferson. It only 
encourages him in his attitude towards me. Kate 
will make him an excellent wife ; the other woman 
will drag him down ; are you willing to sacrifice your 
son's dignity and honor to a mere boyish whim? 

Mrs. Ryder. It's very hard for a mother to 
chdse. Miss Green says — (Sits l.) 



58 THE LION AND THE MOUSE. 

Ryder. Have you consulted Miss Green on the 
subject? (Leans on chair r.) 

Mrs. Ryder. Yes, I don't know how I came to 
tell, but I did — I seem to tell her everything. I 
find her such a comfort— Do you know, John, I 
haven't had an attack of nerves since that girl has 
been in the house. She seems to ward them all off. 

Ryder. I wish she'd ward this Rossmore girl 
off. I wish she — (Pause) If she were Kate she 
wouldn't let Jeff slip through her fingers. (Goes to 
books) 

Mrs. Ryder. No, I've often wished that Kate 
were more like her. Kate is a very nice girl, a 
charming tactful girl, but she isn't Miss Green. 
How that girl does grow on me. Kate is so— 
(Shakes her head) 

Ryder. (Crosses to desk — hack to her) She is 
the daughter of my friend — Senator Roberts, and 
she is Jeff's affianced wife, theyVe been engaged two 
years, and he'll keep his word — or — Caroline — go 
back to the ballroom, spread the report among your 
guests that the wedding is to take place four weeks 
from to-morrow. He'll keep his word for Kate's 
sake. I know that boy. Tell Miss Patterson she'll 
do the rest. 

Mrs. Ryder. Four weeks from to-morrow, a 
month. (Rises, crosses r.) 

Ryder. Yes, a month. ( Telephone rings on desk, 
Ryder hus. Picks up receiver) 

Mrs. Ryder. Four weeks from to-morrow. 

(Stop music. Bell down-stage on table.) 

Ryder. Hello. Who? (Pause) Senator 
Roberts? (Pausing — looking serious) Send him 
up at once — (Bus. Hangs up receiver) What is 
he doing away from Washington ? Oh, my dear. Go 
back to the Ball room and do as I ask you about 
Jefferson, please. 



THE LION AND THE MOUSE. 59 

Mrs. Ryder. Yes, but I — very well. (Up to c.) 

Ryder. Oh, Caroline, what did Miss Green say? 

Mrs. Ryder. She says we are quite right from 
our point of view. 

Ryder. Ah ! 

Mrs. Ryder. But, that our point of view is a 
mistake. 

Ryder. Oh, indeed! 

(Enter Senator Roberts.) 

Mrs. Ryder. Ah, good-evening, Senator. I sup- 
pose I can't tempt you to dance. 

Roberts. Thank you — no — I — I've been led a 
pretty dance already — I — (Pause) 

Mrs. Ryder. Well, good-bye. Don't keep him 
here long, Senator. (Exits c.) 

Ryder. Why have you left Washington at a 
critical moment like this ? The Rossmore impeach- 
ment needs every frend we have. 

Roberts. (Down to desk) Family matters. 
Politics will have to be side-tracked until it's — it's 
settled — about four o'clock this afternoon Mrs. 
Roberts informed me over long distance that she 
has come into possession of correspondence, show- 
ing my daughter is planning to run off with Mr, 
Bagley. 

Ryder. Bagley ? 

Roberts. Yes, eight o'clock to-morrow morning 
is the appointed hour for the elopement. 

Ryder. (Ring bell dozvn table) They're both 
here, Bagley and Kate — ha 

Roberts. Who the devil is this Bagley? (Sits 
R. of desk) 

Ryder. English — blue blook — ^no money — (Sits) 

Roberts. That's the only thing we seem to get 
over here. We furnish the money; they furnish 
the blood. Damn this blue blood I don't want anv 
of it in mine. 



6o THE LION AND THE MOUSE. 
(Enter Jorkins.) 

Ryder. Mr. Bagley, here, at once. 

Jorkins. Yes — sir — (Exit c.) 

Roberts. I was sorry to leave Washington, at 
such a time, but I'm a father and Kate is more 
to me than this Rossmore impeachment. Besides 
her marriage to your son Jefferson is one of the 
ambitions of my life. 

Ryder. That point is settled. The wedding is 
set for one month from to-day. 

Roberts. Mr. Bagley seems to have unsettled it. 

Ryder. The only thing Mr. Bagley has unsettled 
is his own future. (Pause) How is the Rossmore 
case going? 

Roberts. Not so well as it might; there's a lot 
of maudlin sympathy for the Judge. He's a pretty 
sick man and the papers are for him, unanimously ; 
one or two of the Western Senators are talking 
corporate influence — and trust legislation — and 
when it comes to a vote the matter will be settled 
on party lines. 

Ryder. That means that Judge Rossmore will 
be removed? 

Roberts. Yes, with five votes to spare. 

Ryder. That's not enough, there must be at 
least twenty; let there be no blunders, Roberts. 
(Enter Bagley) The man is a menace. The im- 
peachment must go through. 

Bagley. Do you want me, sir? 

Ryder. Yes, Mr. Bagley — (Business — look at 
him — Bagley is afraid) What steamer leaves to- 
morrow for England ? 

Bagley. To-morrow 

Ryder. To-morrow 

Bagley. Let me see. White Star, North Ger- 
man Lloyd, and I think the Transatlantic. 
Ryder. Have you any preference? 
Bagley. No sir, not at all. 



THE LION AND THE MOUSE. 6i 

Ryder, Then you go abroad on one of these ships 
to-night. Your things will be packed and sent to 
you before the ship sails to-morrow. 

(Senator crosses r, and sits.) 

Bagley. (Crosses to desk) But sir — I — I — Fm 
afraid 

Ryder. I observe that, your hands shake. 

Bagley. No, no — no — I mean I 

Ryder. You mean you have other engagements? 

Bagley. Oh, no — no — ^but 

Ryder. No other engagements? 

Bagley. No. 

Ryder. None at eight o'clock to-morrow morn- 
ing? 

Roberts. With my daughter? 

Bagley. No — no — certainly not — under no cir- 
cumstances with your daughter — the idea 

Ryder. (Rings bell) Perhaps she had an en- 
gagement with you 

Bagley. Let me see. There was something 
said about an early morning walk — a constitutional. 

Roberts. Oh, an appetizer. 

Bagley. Yes, an appetizer, I recommended it as 
an excellent tonic — for her health — I thought she 
looked quite pale and er — I — 

(Enter Jorkins.) 

Ryder. Ask Miss Roberts to come here, I want 
to speak to her. (Business writes) 

Jorkins. Yes — sir — (Exits c.) 

Roberts. So you thought my daughter looked 
pale, and a little walk at eight o'clock in the morn- 
ing with you would be a healthy thing for her. 
Well, it may be, but it wouldn't be a healthy thing 
for you. 

Bagley. Not with me — oh, dear no — alone — 1 



62 THE LION AND THE MOUSE. 

cold her that early rising is conducive to rosy 
cheeks. 1 read it in a poem. It runs something 
like this; not exactly, but something. 

If you would have a rosy cheek. 
Then you the rising sun must seek. 

Roberts. Your cheeks needl^no roses. 

Bagley. It's one by the minor poets. 

Roberts. Very minor, I should say. 

Ryder. Then your plans in regard to Miss 
Roberts did not extend further than an early morn- 
ing constitutional. 

Bagley. (Goes very near desk) No sir. 

Roberts. You never proposed to run away with 
her 

Bagley. (Horrified) Run away with her? 

Roberts. And marry her? 

Bagley. {In horror) And marry her? 

Roberts. Did you ever make love to her? 

Bagley. (Aghast) Make love to her? 

Roberts. Yes, make love to her — did you? 

Bagley. This is almost a personal question— 
this is hardly fair — Oh, dear what shall I say 

(E titer Kate c.) 

Kate. (To Ryder) Did you want to see me? 
(To Senator) Father, when did you come back? 
I thought you were in Washington — (Sees Bag- 
ley. Realizes that something serious has happened. 
Realizes that she is found out. Then looks back at 
her father and Mr. Ryder; then at Bagley; tJien 
back at her father. This business ad. lib.) 

Roberts. Well 

Kate. Well — (Looks down on floor as if shy) 
I suppose he has told you everything. 

Roberts. Yes, everything 

(Bagley about to speak catches Ryder's eyei 
and subsides.) 



THE LION AND THE MOUSE. 63 

Kate. {Laughs nervously) Well — (Looks at 
father, laughs nervously, but does not smile) 

Roberts. Have you anything to add? 

Kate. (Shakes her head) No — (^Sighs) It's 
all true. 

Roberts. What is true? 

Kate. That we intended to run awa}'' — and get 
married — isn't it? Fitzroy. (Pause) 

Bagley. I — I beg you will not refer to me. 

Kate. Fitz ! 

Roberts. Never mind about Fitz — I'll attend to 

Fitz presently. 

Bagley. I — I assure you. 

Roberts. And you were to meet him at eight 
o'clock to-morrow morning for the express pur- 
pose of getting married? 

Kate. Since Fitzroy has told you everything — 
I — I think perhaps we had better ask your permis- 
sion. 

Roberts. My permission eh? 

Kate. And your forgiveness. 

Roberts. (Rises) And what of Jefferson 
Ryder? 

Kate. One can't think of everybody in these 
matters. Mr. Bagley will explain, that, he knows 
that Jefferson doesn't care — Mr. Bagley will 

Ryder. Mr. Bagley leaves for England to-night. 
I am afraid he will have no time to explain any- 
thing. 

Kate. England 

Roberts. Ah, — ^that settles it — (Crosses to c. 
and takes Kate's arm) Get your things on and 
prepare to go to Washington with me early to- 
morrow morning. 

Kate. Washington ? 

Roberts. Yes, Washington — for an early morn- 
ing constitutional. (To Bagley) Bon voyage—* 
Mr. Bagley — (Taking her out) Come Kate. 



64 THE LION AND THE MOUSE, 

Kaie. I don't want to go to Washington. Never 
mind Fitz. You know where to write. Father, I 
think you're very unkind. I won't go — I won't go 
— (Tries to release her arm — but cannot — Exit 
with Senator) 

Ryder. (Hands letter to Bagley) Your in- 
structions sir, to be opened when you arrive in 
England ? 

(Enter Jkfferson c. He is quite excited.) 

Bagley. (Completely non-plussed — knocked 
out) I— I 

Ryder. Good night, sir. Well, Jeff. 

Bagley. (Brace up as if to speak — with posi- 
tive emphasis) Sir — I — (Catches Ryder's eye. 
Ryder rises) Yes — sir — good night, sir — ^good 
night, sir — (At door exit c.) 

Jefferson. Now then, Father. 

Ryder. Let's go into the ballroom, 

Jefferson. Don't turn down the light, Father. I 
want to talk to you. 

Ryder. (Down to end of desk) My dear boy, 
your errand is written all over your face. You 
wish to know who has dared to spread the report 
that your marriage is to take place in a month 
from to-day. 

Jefferson. I have no need to ask, Father. I 
know your methods. I am not going to call your 
attention to the absurdity of attempting to in- 
fluence me in the choice of a wife by such means, but 
I demand that these blows in the dark, these polit- 
ical moves, come to an end. They're unfair to me, 
they're brutally unkind to Kate and they're un- 
worthy of you. 

Ryder. How dare you presume to criticise my 
actions? (Puts down cigar) 

Jefferson. You have forced me to do so, not 
only do I refuse to carry out your plans in regard 



THE LION AND THE MOUSE. 65 

to Kate Roberts, but I intend to marry Miss Ross- 
more as soon as she will consent to become my 
wife. (Looks at father who looks at him but does 
not anszver) She is acquainted with all the cir- 
cumstances of my so called engagement to Kate, 
and if I can succeed in overcoming her prejudices 
to my family — (Ryder laughs) — to you — we've 
tried the poor girl pretty sorely, Father, you and I 
— you, with your deadly hatred and persecution of 
her father, and I with this trumpery pretence of an 
engagement with Kate Roberts, cowardly fear of 
your displeasure, but I am afraid no longer, and I 
tell you openly, finally, that I intend to make 
Miss Rossmore my wife — (Pause — looks at Ryder 
— Ryder makes no reply. Weakenmg a little) 
You've forced me to — to defy you, Father — I'm — 
I'm sorry. 

Ryder. (With much self-control) All right 
Jeff, my boy, you're sorry so am I. You've shown 
me your cards, and I'll show you mine. (Sits l. 
with bitter hatred) When I get through with 
Judge Rossmore at Washington, I'll start on his 
daughter. This time to-morrow he'll be a dis- 
graced man, and in a week she'll be a notorious wo- 
man. 

Jefferson. Father! 

Ryder. There is sure to be something in her life 
that won't bear inspection. There is in every- 
body's hfe — I'll find out what it is. (Jefferson 
stands as if unable to answer) Where is she now? 
She can't be found. No one knows where she is; 
not even her own mother. Something is wrong. 
The woman is hiding. What — what is she hiding 

(Jefferson goes to door c. Pause — silence.) 

Jefferson. Why she- 



Ryder. Well, that is all? 
Tefferson. That's all — (Exits c.) 



66 THE LION AND THE MOUSE 

Ryder. Leave your address with your mother- • 
{Tries to read — then bangs fist on desk) 

Shirley. (Enter) May I come in, Mr. Ryder £ 

Ryder. Yes, come in. 

Shirley. (In a low voice) I want to see you 
on a — very important matter. I've been waiting 
to see you all evening, but I shall only be here a 
few days longer — I — {With emotion) I want to 
ask you a great favor, perhaps the greatest you 
were ever asked. {As i^ afraid) I want to ask 
you for mercy — for mercy to — {T'f^rn-^ to him sees 
that he is preoccupied) Mr. Ryder? 

Ryder. {As if awakening out of a dream) Eh 
—forgive me, I didn't quite catch what you were 
saying. {Pause) For the first time in my life I 
am face to face with defeat — defeat of the most 
ignominious kind — incapacity — inability — to reg- 
ulate my domestic affairs. I can rule a govern- 
ment, but I can't guide my own family, my own 
son. {Enraged) I am a failure — a failure — sit 
down — {She sits) Why, why can't I rule my own 
household — why can't I govern my own son? 

Shirley. Why can't you govern yourself 

Ryder. Now, you can help me by not preach- 
ing. This is the first time in my life I ever called 
on a living soul for help. I'm only accustomed to 
deal with men. This time there's a woman in the 
case, and I need your woman's wit. 

Shirley. How can I help you? 

Ryder. {With suppressed excitement) I don't 
know. As I told you I'm against a blank wall — a 
blind alley. I can't see my way. I'm ashamed of 
myself, ashamed. Did vou ever hear the fable of 
" The Lion and The Mouse." Well, I want you to 
gnaw with your sharp woman's teeth at the cords 
which bind my son to this Rossmore woman? I 
want you to be the mouse. Set me free of this dis- 
graceful entanglement. 

Shirley. How ? 



THE LION AND THE MOUSE. 6; 

Ryder. Ah — that's it, how? Can't you think. 
You're a woman ! You have youth, beauty — bril- 
liancy — and — {Suddenly, as if struck with an in- 
spiration, looks at her) By George, I have it! 
Marry him yourself. Kate Roberts can't hold him; 
she hasn't the mentality you have, if you can force 
him to let go of this woman. Why not? His 
mother once told me you had great influence over 
the boy. At one time she actually thought it was 
your influence that kept him here. {Pause — ■ 
Shirley looks at him, hut cannot answer) Come 
what do you say ? 

Shirley. You — ^}^ou must give me time to think 
— time — to — I — I — {Passes her hand over her face 
as if thinking) Suppose I don't love your son, — I 
should want something — something to 

Ryder. The boy will inherit millions — I don't 
know how many. 

Shirley. {Sits) No — no — not money — it's — 
it's something else — man's honor — a man's life — 
it means nothing to you. {Aside quickly) 

Ryder. You can win him, if you make up your 
mind to. A woman with your resources can blind 
him to any other woman. Come, you have light 
enough to attract a moth of Jefferson's calibre. 
I'll temporize with him ; get him to stay a few 
vveeks longer, and by then you'll have him caught. 

Shirley. But if he loves Judge Rossmore's 
daughter ? 

Ryder. It's for you to make him forget her — « 
and you can 

Shirley. But Kate Roberts, she— she loves 
him 

Ryder. Kate Roberts is playing fool with some- 
one else. My onl, desire is to separate him from 
this Rossmore gi 1, ?^ ar^ cost. You must help me. 
{His sternness ; elaxes somezvhat) Do you know 
that I shall almost bo glad to think that you won't 
have to leave me. You h"ve been here nearly eight 



68 THE LION AND THE MOUSE. 

weeks. Mrs. Ryder is quite taken with you, and I 
— (His eyes rest on her kindly) I shall miss you 
when you go. 

Shirley. You ask me to be your son's wife, and 
you know nothing of my family ? 

Ryder. I know you. 

Shirley. No — no — you don't, nor do you know 
your son. He has more constancy — more strength 
of character than you think and 

Ryder. So much the greator victory for you 



Shirley. Ah, don't you love your son? 

Ryder. That's where you are mistaken. I do 
love him and it's because I love him that I'm such 
a fool in this matter. Don't you see if he marries 
this girl, it would separate us ; and I should lose 
him. I don't want to lose him. If I welcome her 
to my home it would make me the laughing stock 
of all my friends and business associates. I should 
have to welcome her father, the very man who — • 
ah — it would be beyond words. (Shirley looks 
at him, shakes her head) Come what do you say? 
(Telephone rings — Ryder goes to desk) 

Shirley. (Aside) What shall I do — what 
shall I say? (Crosses c.) 

Ryder. (Rings bell) Judge Stott — no — 
(Pause) Waiting over an hour — (Pause) In- 
sists, does he? Well, if he refuses to go, have 
him put out. (Pause) Life and death. What's 
that to do with me. Tell him 

Shirley. (Crosses to table) One moment. 
You must see him, Mr. Ryder. I know who he is. 
Your son has told me. 

Ryder. Wait a moment. 

Shirley. Judge Stott is one of Judge Ross- 
more's advisers. See him ; you may find out some- 
thing about the girl, you may find out where she 
is. Don't you see you must see him. If Jefferson 
finds out you have refused to see her. father's 



THE LION AND THE MOUSE. 69 

friend on a matter of life and death; it will only 
make him sympathize more deerly with the Ross- 
more, and you know sympathy is akin to love and 
that's what you want to avoid, isn't it ? 

Ryder. (Hesitates) Upon my word, you may 
be right yet. 

Shirley. (Lightly) Am I to help you or not? 
You said you wanted a woman's wit. 

Ryder. Yes — but still. 

Shirley. Then you'd better see him. 

Ryder. (At phone) Hello, is that you Jepson? 
Send Judge Stott up. (Throws phone on table. 
To Shirley) That's one thing I don't like about 
you. I allow you to decide against me — and then I 
agree with you. (Looks at her admiringly) I'll 
predict that you will bring that boy to your feet 
within a month. Somehow I feel that he is at- 
tracted to you already. Thank heavens, you haven't 
a lot of troublesome relatives. I think you said you 
were almost alone in the world. Don't look so 
serious, after all Jeff is a fine fellow, and believe 
me, quite an excellent catch, as the world goes. 

Shirley. Oh, don't — don't please — my position 
is so false, you don't know how false it is. (Crosses 
R.) 

(Enter Judge Stott c. Preceded by Jorkins, 
Stott looks at Shirley, but doesn't indicate 
that he knozus her, as Ryder turns Shirley 
signals Stott to speak. Ryder waves secretary 
to go. Secretary exits.) 

Jorkins. Judge Stott, sir. 
Shirley. Perhaps I'd better go. 
Ryder. No, Judge Stott will detain me but # 
very few moments. 

(Shirley sits r. c, listens intently. Her anxiety w 
obvious to the audience. Not to Ryder.) 



70 THE LION AND THE MOUSE. 

Stott. (c.) I must apologize for intruding at 
this unseemly hour, sir, but time is precious. ^ The 
Senate meets to-morrow to vote, and if anything is 
to be done for Judge Rossmore, it must be done to- 
night. 

Ryder, (c.) I fail to see why you address 
yourself to me in this manner, sir. ^ 

Stott. As Judge Rossmore's friend and coun- 
sel, sir, I am impelled to ask your help at this crit- 
ical moment. 

Ryder. The matter is in the hands of the United 
States Senate, sir. 

Stott. They are against him. Not one Senator 
I have spoken to holds out any hope for him. If 
he is impeached it will mean his death. Inch by 
inch his life is leaving him. The only thing that 
can save him is the good news of the Senate's re- 
fusal to impeach him. 

Ryder. I can do nothing, sir. 

Stott. As I understand they will vote on 
strictly party lines, and the party in power is 
against him. He's a marked man. You — you — 
have the power to help him — ^you — (Ryder makes 
a gesture of impatience) When I left his bedside 
to-night — I promised to return to him with good 
news. I have told him that the Senate ridicules 
the charges against him ; I must return with good 
news. He is very ill to-night, sir. (Meaningly to 
Shirley) If he gets much worse we shall send 
for his daughter. 

Shirley. (Aside) Father! (Shirley busi- 
ness) 

Ryder. His daughter — where is his daughter? 

Stott. She is trying to save her father. 

(Shirley nods affirmatively.) 

Ryder. (Crosses to Stott) You didn't come 
hce to-night merely to tell me this. 



THE LION AND THE MOUSE. 71 

Stott. No, sir. (Business with letters he takes 
out of his pocket) These letters from Judge Ross- 
more to you show you are acquainted with the fact 
that he bought these shares as an investment, and 
did not receive them as a bribe. 

Ryder. (Looks at letters over Stott*s shoulder, 
leaves him, and then opens drawer L., looks for 
papers, then speaks) Why don't you produce them 
before the Senate ? 

Stott. I tried to© but it was too late. The case 
was closed and could not be re-opened. (Shirley 
business) I only received them last night, but if 
you come forward and declare 

Ryder. I can do nothing in the matter, sir. 

Stott. Then I shall publish them in every news- 
paper in the United States. 

Ryder. Do as you please. That will not effect 
the issue. (Looks at letters) The Judge writes 
to ask the values of the shares as an investment. 
That doesn't prove that he did invest in them, or 
account for all the stock he had in his possession, 
in fact it proves nothing, you are a lawyer, you 
ought to know that. 

Stott. It proves you to be a basis of conspiracy 
to put Judge Rossmore off the bench. If we can- 
not prove it legally we can morally and I shall 
publish these letters. 

Ryder. Publish them by all means — I have been 
attacked by the papers before, and I guess I can 
stand it again, keep them, I don*t want them. 
(Crosses to desk) You don't suppose that if they 
had been of any value, I should have left them 
around, do you? And now, sir, I wish to know 
how it comes that you have in your possession 
private correspondence addressed to me. 

Stott. That I cannot answer. 

Ryder. From whom did you receive these let 
ters? 



72 THE LION AND THE MOUSE. 
{Bus. — Shirley clutches chair as if afraid.) 

Stott. I must decline to answer. 

Shirley. (Rises about to speak. Both Ryder 
and Stott look at her) I wish to make a state- 
ment. 

Stott. (Anticipates her) Judge Rossmore's 
life and honor are at stake, and no false sense of 
delicacy must cause the failure of my object to save 
him. I must decline to answer. 

Ryder. (Furiously rings bell) Do you suppose 
I don't know who sent them; do you suppose that 
I don't know that this man, this Judge, whose 
honor is at stake, and his daughter — who most 
likely has no honor at stake — ^between them have 
made a liar and thief of my son ! False to his 
father, false to his fiance, and you, sir, have the 
presumption to come here and ask me to intercede 
for this man. (Enter Jorkins c.) Ask Mr. Jef- 
ferson to come here at once. 

Jorkins. Yes sir. (Exit c.) 

(Stott in whisper. Looks at Shirley quickly.) 

Ryder. And now, sir, I think nothing remains 
to be said. 

Stott. As you please. Good-night. (Goes up, 
turns and looks at Shirley and exits c.) 

Ryder. Good night. (To Shirley) Now you 
see what she has done to my son. (Crosses c. and 
then tip and down) 

Shirley. Yes, it's the girl's fault, (r. c.) Oh, 
you must make allowances for him. One's sym- 
pathy gets aroused in spite of one's self. Even I 
feel sorry for these people. 

Ryder. (Crosses to l.) Don't — sympathy is 
weakness. 

(Enter Jefferson c.) 

Jefferson, (c.) You sent for me. Father? 



THE LION AND THE MOUSE. 73 

Ryder. (l.) What of the letters in this 
drawer ? 

Jefferson. What letters? 

Ryder. The letters that were in the left hand 
comer drawer. 

Jefferson. Why — I — I ► 

Ryder. You took them? 

Jefferson. Yes. 

Ryder. And sent them to Judge Stott? 

Jefferson. Yes. 

Ryder. (Shirley starts) As I thought. You 
deliberately sacrificed my interests to save this wo- 
man's father, you hear him; Miss Green. {With 
great self-control) Jefferson, I think it's time that 
you and I had a final accounting. (Shirley 
starts up) Please don't go Miss Green. As the 
writer of my autobigraphy you are sufificiently ac- 
quainted with my family affairs to warrant you 
being present at the epilogue. Besides I want an 
excuse for keeping my temper. For your mother's 
sake, boy, I have overlooked your little eccentric- 
ities of character. We have arrived at the parting 
of the way ; you have gone too far. The one aspect 
of this business I cannot overlook is your willing- 
ness to sell your own father for the sake of a wo- 
man. 

Jefferson. My father wouldn't hesitate to sell 
me if his business and political interests warranted 
the sacrifice. 

Shirley. Ah^ please don't say those things Mr. 
Jefferson. I don't think he quite understands you, 
Mr. Ryder, and if you will pardon me, I don't think 
you quite understand him. Do you realize that 
there is a man's life at stake — that Judge Rossmore 
is almost at the point of death — ^And that favorable 
news from the Senate Chamber to-morrow — is 
perhaps the only thing that can save him? 

Ryder. (Sits) Judge Stott's story has quite 
aroused your sympathy 



74 THE LION AND THE MOUSE. 

Shirley. Yes — I — I must confess my sympathy 
is aroused. I do feel for this father whose hfe is 
slowly ebbing away ; whose strength is being sapped 
daily, hourly, by tiie thought of his disgrace, the 
injustice that is being done him. I do feel for the 
wife of this suffering man. 

Ryder. Now, we have a complete picture, the 
dying father, the sorrowing wife — and the daugh- 
ter — what is she supposed to be doing? 

Shirley. (With meaning) She is fighting 
for her father's life — and you — {To Jefferson) 
should have pleaded — pleaded — not demanded. 
It's no use trying to combat your father's w^ill. 

Jefferson. She is quite right, Father. I should 
have implored you. I do so now. I ask you, for 
God's sake to help me. 

Ryder. (Sees his son's altitude change — for a 
moment, pauses, rises) His removal is a political 
necessity. If this man goes back on the bench 
every paltry Justice of the Peace, every petty 
official will think he has a special mission to tear 
down the structure that hard work and capital has 
erected. No, this man has been especially conspicu- 
ous in his eflForts to block the progress of amal- 
gamated interests. 

Shirley. And so he must die. 

Ryder. He is an old man, he is one, we are 
many. (Down to end of desk) 

Jefferson. He is innocent of the charge 
brought against him. 

Shirley. Mr. Ryder is not considering this 
point. All he can see is that it is necessary to put 
this poor man in the public pillory to set him up as 
a warning to others of his class, not to act in ac- 
cordance with the principles of the truth, and jus- 
tice, not dare obstuct the car of Juggernaut set in 
motion by the money gods of the world. 

Ryder. Survival of the fittest, my dear. 



THE LION AND THE MOUSE. 75 

Shirley. Oh, use your great influence with this 
governing body for good. 

Ryder. (Moving) By George, Jefferson — I 
give you credit for having received an excellent ad- 
vocate. 

Shirley. Suppose — suppose — this daughter- 
promised that she will never — never see your son 
again ; that she will go away to some foreign coun- 
try. 

Jefferson. No, why should she. If my father 
isn't man enough to do a s'mple act of Justice with- 
out bartering a woman's happiness, his son's happi- 
ness — let him rot in his own self justification. 
(Looks up stage. Shirley goes up stage as if 
overcome) 

Ryder.^ (Crosses to Jefferson) Jefferson, my 
boy, you see how this girl pleads your case for you ; 
she loves you. (Bus. Jefferson) BeHeve me she 
does — she's worth a thousand of the other woman. 
Make her your wife and I will do anything you ask. 

Jefferson. Make her my wife? (Turning to 
control himself — cannot believe his ears — conceals 
his joy) Make — her — my wife. 

Ryder. Come, what do you say? 

Jefferson. Yes — ^yes — (Unable to speak — sees 
that he will betray himself) I cannot ask her now, 
Father — sometime later. 

Ryder. No — to-night at once. (Crosses up L. 
c. Jefferson turns, looks at father) Miss Green, 
my son is much affected by your disinterested ap- 
peal in his behalf — he — he — ^you can sa^ e him from 
himself — My son — wishes — yoa — he — asks you to 
be his wife — is it not so, J ffcrson? 

Jefferson. Yes — ^yes — my wife — (Laughs 
hysterically) 

Shirley. Oh — no — no — Mr. Ryder I cannot. 
(Comes down c.) I — I can't. 

Ryder. (Appealingly) Why not — ah, don't— ^ 
decide hastily — (Dozvn to her l. c.) 



76 THE LION AND THE MOUSE. 

Shirley. (Down) I cannot marry your son 
with these lies upon my lips. I cannot go on with 
this deception. I told you — you did not know who 
I was, who my people were. My story about them, 
my name, everything about me is false. Every 
word I have uttered is a lie, a fraud, a deception. 1 
wouldn't tell you now, but you trusted me. And 
are willing to entrust your son's future in my keep- 
ing — but I can't keep back the truth from you. 
(Jefferson business) Mr. Ryder I am the daugh- 
ter of the man you hate. I am the woman your 
son loves. 'Twas I who took the letters and sent 
them to Judge Stott. I am Shirley Rossmore. 

Ryder. You? (Turns) 

Shirley. Yes, yes, I am. Now listen to me. 
Mr. Ryder. (Ryder turns azvay) Dgn't turn 
away from me. Go to Washington on behalf of my 
father and I promise you I will never see your son 
again. Never, never. 

Jefferson. Shirley ! 

Shirley. Jeff, forgive me, my father's life. 

Jefferson. You are sacrificing our happiness. 

Shirley. No happiness can be built on lies. 
We have deceived your father. But he will for- 
give that, won't you, and you will go to Washing- 
ton. You will save my father's honor, his life. 
You will — you will. 

Ryder. (Turns on) No — no — I will not. You 
have wormed yourself into my confidence by means 
of lies and deceit. You have tricked me, fooled 
me to the very limit. Oh, it's easy to see how you 
have beguiled my son into the folly of loving you. 
And you have the brazen effrontery to come here 
and ask me to plead for your father? No, no, let 
the law take its course. And now, Miss Rossmore 
will you please leave my house to-morrow morning. 
(Crosses to lower end of desk) 

Shirley. (Jefferson moves hack of chair. 
Shirley turns to him in fury) I will leave your 



THE LION AND THE MOUSE. 77 

house, to-night. Do you think I would remain an- 
other hour beneath the roof of a man who is as bhnd 
to justice, as deaf to mercy, as incapable of human 
sympathy as you are? 

Ryder. Leave the room. (l. of desk) 

Jefferson. Father ! 

Ryder. You have tricked him as you have 
tricked me. 

Shirley. It is your own vanity that has tricked 
you. You lay traps for yourself and walk into 
them. You compel everyone around you to lie to 
you; to cajole, to praise, to deceive you, at least 
you cannot accuse me of flattering you. I have 
never fawned upon you as you compel your family, 
your friends, your dependents to do. 

Ryder. {Controls self with difficulty) Please 
go. 

Jefferson. Yes — ^let us go Shirley. {Goes tO' 
ward Shirley) 

Shirley. No, Jeff, I came here alone, and Vm 
going alone. 

Jefferson. No, you are not. I intend to make 
you my wife. 

Shirley. No. Do you think I could marry a 
man whose father is as deep a discredit to the hu- 
man race as your father is. No, I couldn't Jeff. 
I couldn't marry the son of such a merciless tyrant. 
(Ryder sits) He refuses to lift his voice to save 
my father. I refuse to marry his son. {Crosses to 
desk) You think if you lived in the olden days— 
(Ryder is dumbfounded) — you'd be a Caesar or 
an Alexander, but you wouldn't — You'd be a Nero 
— a Nero — sink my self-respect to the extent of 
marrying into your family. Never. I am going 
to Washington without your aid. I am going to 
save my father if I have to go on my knees to every 
United States Senator at the Capitol. I'll go to 
the White House. I'll tell the President what you 
are. Marry your son, indeed! Marry your aon! 



78 THE LION AND THE MOUSE, 

No thank you Mr. Ryder. {Exit hastily as cur- 
tain is falling) 

(Ryder looks at son, he is literally " out") 

CURTAIN. 



ACT IV. 



Scene: — Shirley^s suite in the Ryder Establish" 
ment. 

Time: — Seven a. m. the next morning. 

(As the curtain rises it is still dark. Enter maid 
D. r. with tray on which is pot of tea, etc. 
She knocks on door, d. l., waits for an an- 
swer. ) 

Maid. Seven o'clock, Miss. 

Shirley. {Off stage) All right 

Maid. Shall I bring your tea in, Miss? 

{Enter Shirley, d. l.) 

Shirley. No, thank you, I'll drink it in here. 

Maid. Why you haven't been to bed. Miss. 

Shirley. No, I couldn't sleep, Thurza. I was 
too anxious, I would have left here last night, if I 
could have gotten away, so — {Bus. pours tea) I 
must catch that early train to Washington, if I 
missed it, I — I dare not think what would happen. 

Maid. But I promised to call you in time, Miss 
— {Crosses to l. c.) 

Shirley. Yes — ^yes, I know but — {Bus. drink- 
ing tea) I didn't finish packing until nearly five; 
it was hardly worth while going to bed. Besides 



THE LION AND THE MOUSE. 79 

I was too tired to sleep. I just sat and thought — 
and thought. {Business) 

Maid. (Pauses) Can I do anything for you, 
Miss? 

Shirley. (Starts out of reverie) No — there 
are only a few things to go in my dress suit case. 
Have a cab here in half an hour. 

Maid. Yes, Miss. (Crosses to R.) Oh, Miss, 
Mr. Jorkins said master wants to see you as soon 
as you finished your tea. 

Shirley. Mr. Ryder? Impossible. 

Maid. (Shocked) But Miss? (Pause) Mr. 
Ryder expects you. 

Shirley. Please give Jorkins my message. I 
cannot see Mr. Ryder. 

{Knock on d. r. Maid goes to door, opens it, sees 
Jorkins.) 

Maid. (Very mysteriously) He is here now. 
Miss — (Enter Jorkins half zvay — Bus. Jorkins 
and Maid) Mr. Ryder is waiting to see you down- 
stairs. 

Shirley. Tell Jorkins to come in. 

(Maid opens door zvide, defferentially. Enter 
Jorkins pompously.) 

Jorkins. Yes, Miss. 

Shirley. Please inform Mr. Ryder that it is 
impossible for me to see him. 

(Business Jorkins tries to conceal his surprise.) 

Jorkins. Yes, Mi^s, but, Mr. Ryder desires 

SnirxEY. P'^ise deliver my answer as I give 
it. I cax.nct see him. 

(Jorkins raises his eyes in horror; tries to speak, 
bows and exits. Maid gasping.) 



8o THE LION AND THE MOUSE. 

Shirley. (Laughs) Take away the tray. 
(Rises) I'll finish packing. (Dozvn L.) 

(Enter Mrs. Ryder in dressing gozvn, looks as if 
she is just out of bed; hurried; she is badly 
made up and rather a^kew; very excited arid 
perturbed.) 

Mrs. Ryder. My dear Miss Green, what is this 
I hear — going away suddenly without giving one 
moment's warning? 

Shirley. (Smiling) But I wasn*t engaged in- 
definitely. 

Mrs. Ryder. I know — I know — I was thinking 
of myself. IVe grown so used to you, how shall I 
get on without you? My poor nerves — no one un- 
derstands me as you do. Dear me — (Sits, r. c.) 
The whole house is upset — Mr. Ryder never went 
to bed at all last night ; he sat and smoked all night 
in the library. Jefferson is going away too — for- 
ever, he says. If he hadn't come and woke me up 
to say good-bye, I should have never known that 
you intend d to Icavs us. I call it downright de- 
sertion. Do change your mind, dear — (Shirley 
exits end comes right back, Mrs. Ryder, to Maid 
— aside) Tell Mr. Jefferson to come up at once. 

Maid. Yes, Ma'am. (Takes tea tray and exits 
D. r.) 

Shirley. Did your son tell you who I am? 

Mrs. Ryder. No, dear. 

Shirley. I am the daughter of Judge Ross- 
more. 

Mrs. R\T)er. My dear, that's not your fault; 
you're yourself — and that's the main thing. I half 
promised that I would ask you to see Jeff before 
you went; that is if yea insist on going. (Rises — 
goes up stage to Shirley) 

Shirley. It is better that I did not see him. 

Mks, Ryder. Ah, but you don't understand— 



THE LION AND THE MOUSE. 8i 

Ryder, but for Jefferson's sake I must tell you, and ' * 
(Pauses) . My dear girl, I feel like a traitor to Mr. . ^ 
you will take his mother's word, won't you? My 
dear, he never cared a snap of his finger for Kate 
Roberts. 

Shirley. I know — it isn't that — didn't he tell 
you that Mr. Ryder — and my father — [Exit l. 
as Jefferson enters, d. r.) 

Mrs. Ryder. Ah, there you are, Jefferson — 
come in, dear — she is waiting to see you — I think 
I've put everything right between you. (Turns 
and sees that Shirley has disappeared) And now 
I must go back to bed. I'm nearly dead with sleep. 
(Crosses l.) Your father must never know that I 
brought you two together^ (Goes to door — returns 
to Jefferson) Perhaps he'd better not know that 
I've been here at all. 

(Enter Jorkins, d. r.) 

JoRKiNS. Mr. Ryder's compliments, Madam, he 
wished to see you in the library. 

Mrs. Ryder. Oh, dear, you see he's found out 
already — oh, what a man. I can't come, Jorkins, I'm 
T— I'm in bed and asleep. I mean — I ought to be — 
I — (Weakens) I think I'd better go, eh, Jeff? 
Very well, Jorkins, I'll be there in a moment. Now 
understand I have not brought you two together 
again. 

Jefferson. (Disappointed at Shirley's ignor-* 
ing him) No, Mother, I'm afraid you have not. 

Mrs. Ryder. Why don't you go, Jorkins — oh, 
dear, why do people get up in the middle of the 
night. (Exits followed by Jorkins) 

(Jefferson stands disconsolately watching room 
L. Enter Shirley d. l. She goes over to the 
writing desk. Bus, with books.) 



g2 THE LION x\ND THE MOUSE. 

Jefferson. Mother said she had put everything 
right between us, but I am afraid she was mis- 
taken. 

Shirley. Your mother does not understand, 
neither do you. Nothing can be put right. Noth- 
ing can ever be right again in this world for me 
until my father is restored to honor and position. 

Jefferson. I say that as sincerely as you do. 
Nothing can ever be right in this world to me again 
until your father is restored to honor and position 
and to that end I am going with you to Washing- 
ton. 

Shirley. No, Jeff. 

Jefferson. Shirley, all my life I have listened 
to another voice than my own — now I am listening 
to the promptings of my own heart, my own con- 
science. I know that my father was instrumental 
in placing Judge Rossmore where he is to-day. 
And I am going to let the world know what I know. 

Shirley. Then you are going to betray your 
own father ! Oh, Jeff ! 

Jefferson. I am going to speak the truth. 

Shirley. Yes, but you are doing this for my 
sake— not for the sake of the truth — if Judge 
Rossmore were not my father, would you move in 
his behalf — would you? 

Jefferson. That is not the question — he is your 
father — and I 

Shirley. But I can't accept such a sacrifice. 
It's because you love me that you will make this 
move. You*d never forgive yourself. You'd never 
forgive. Bitterly as Mr. Ryder hates my father, 
bitterly as he hates me now — I will do him the jus- 
tice to recognize his love for you, Jeff. (Jeffer- 
son sits c.) You cannot betray the father who 
loves you. Ah, it's out of the question. When I 
plead for my father in Washington I must do so 
without the knowledge that I have influenced you 
against your father. No — somehow or other the 



THE LION AND THE MOUSE. 83 

truth will come out— I feel it. I know it, but not 
through you. 

Jefferson. I know you are right, Shirley, but 
it's all against my feeling, my instincts. I don't 
want to betray my father and I do want to help 
you — am I always to be cursed with indecision. 

Shirley. Let me decide for you 

Jefferson. It's always someone else who de- 
cides for me, and as usual I obey — ^Oh, what must 
you think of me — no wonder I can't win your love. 

Shirley. Jeff, we mustn't speak of that now — ■ 
(Enter Ryder) — until this matter is settled. I can 
never see you or your father again. (Crosses 
down L.) 

Jefferson. Why do you always associate us ? 

Shirley. He is your father — he — (Sees Ryder 
— picks up things she has been collecting and walks 
out of the room zvith quiet dignity) 

Ryder. (Crosses to L. c.) Hum — I rather 
thought I should find you here, but I didn't quite 
expect to find you, so to speak, on your knees, drag- 
ging your pride in the mud. 

Jefferson. It's where our pride ought to be. 

Ryder. So she has refused you again? 

Jefferson. Yes, she still objects to my family. 
(Goes up stage) 

Ryder. Your family in general — me in partic- 
ular, yes I gleaned that much as I came in — (Looks 
at door l.) She's a curious girl, with curiously in- 
verted ideas — I must see her before she goes — 
(Goes to door l. about to knock, turns to Jeffer- 
son) Do you mean to say she has done with you 
— cut all ties between you? 

Jefferson. Yes. 

Ryder. Finally ? Forever ? 

Jefferson. Yes, finally — forever. (Crosses up 
R. c.) 

Ryder. Does she mean it? (Jefferson 
nods his head) Um — it's like her, just like her 



84 THE LION AND THE MOUSE. 

(Knocks at door) Oh, yes — it's like her — all 
right. 

Shirley. (Offstage) Who is it? 

Ryder. (Abruptly) I wish to speak to you. 
(Looks at Jefferson) In my hbrary, alone. 

Shirley. I must beg you to excuse me — I can- 
not see you. 

Jefferson. Why do you add to the girl's misery 
— hasn't she suffered enough already? 

R\T)ER. (Crosses to c.) Do you know what she 
has done? (Jefferson shakes his head) She has 
insulted me grossly. (Angrily) So grossly that I 
— I — (Takes out check) I never was so humiliated 
in my life. She has returned the check I sent her 
last night in payment of her work. I mean to make 
her take that money ; it's hers — she needs it. Her 
father's a beggar; she must take it — it's only 
flaunting her contempt for me in my face, and I 
won't permit it. (Goes up stage R. stands there — 
down c ) 

Jefferson. Father, you are as incapable of 
doing that girl justice — as I am. She is far above 
our conception of womanhood as good is above 
evil — not five minutes ago I offered to go with her 
to betray you — and she refused — because — she said 
that you loved me, and that she could not tear the 
thought of a son betraying his father — see what 
your selfishness has driven me to — see what you 
have made of me — ^you have destroyed me as you 
are helping to destroy our national integrity. She 
showed you whac you were last night, she showed 
me what I was to-day — ^you were right. When you 
said that I would sell you for her, I would, but it's 
you who have made me what I am. Do you think 
she'll ever marry me now? 

Ryder. Yes, and don't be a damn fool. I know 
a woman better than you do. Whatever you did, 
you did for her sake — well that settles it — she seoi 



THE LION AND THE MOUSE. 85 

the power she has. Do yon think she'll let it go 
now? 

Jefferson. She has higher instincts than ours 
Father, she doesn't love power. 

Ryder. All r:;^lit- -granted everything you say 
— she's human — isn't she, — well, she'll come around 
— they all do. 

Jefferson. But her father? 

Ryder. He'll be all right ■ 

(Enter Roberts d. r.) 

Roberts. I got your telephone message — ^they 
said that you were up her. (He sees Jefferson) 

Ryder. It's all right — ^he knows. 

Roberts. Ryder, it can't be done — we can't re- 
treat now — the Rossmore impeachment must go 
through-— — 

Ryder. (Roars) What ! 

Roberts. We -can't march up a hill and march 
down again. The JUnited States Senate is not the 
King of France. 

Rydeil Senator, you have read the morning 
papers — well — (Bus. with papers) They roasted 
me well— -they've accused me of crime in all the 
branches. Rossmore's friends have published his 
letters — Oh, it's lovely! (Up stage) 

Roberts. The Rossmore impeachment must go 
through. 

Ryder. No — The Senate must yield to public 
opinion. 

Roberts. But 1 have worked for it, how can 1 
work against it now ? It can't be done. 

Jefferson. It nnct be done. 

Ryder. It will be done. If every Senator has to 
eat his own speeches. 

Roberts. I don't se e • ■ 

Ryder. Well, 1 do. We'll go together on a 
special train to Washington. Don't you see it wili 



86 THE LION AND THE M0U3£. 

be doing the proper thing you know — yielding to 
pitbHc opinion and just think how easy it will make 
it for your brother's Erie Canal Proposition. 

Roberts. Um — I suppose it can be done. 

Ryder. I thought so 

{Enter Jorkins.) 

JoRKiNS. Senator Roberts, there's someone on 
the telephone for you. (Exits) 

Roberts. Oh, I'll bet it's something about Kate 
all right. (Exits d. r.) 

(As soon as Roberts exits, Jefferson comes dozvn 
stage.) 

Jefferson. Thank you. Father. (Shakes hands) 

Ryder. It's all right, my boy. But understand 
it's not for the man — it's for the girl. Jeff, I've 
had a hard niglit, not a wink of sleep. She said 
a few things to me, didn't she 

Jefferson. And you said a few things to me, 
Father. 

Ryder. I'm sorry. (Puts arm around Jeffer- 
son) 

Jefferson. Oh, that's all right. I'm afraid that 
she 

Ryder. No, don't be afraid — leave me alone for 
SL moment. (Jefferson goes to door) And — and 
• — be around — (Jefferson exits r. Ryder stands 
for a fe7v moments as if unable to move. Looks at 
D. r. after his son, then at check, which he still holds 
in his Jiand, then at d. l. ; finally to d. l., knocks un- 
certainly. There is no anszver — he knocks again) 

Shirley. (Off stage) Who is it? 

Ryder. (Firmly) I want — (Subsides with an 
effort — then mildly) Won't you come out for a 
moment, Miss — er — Rossmore? (With consider- 



THE LION AND THE MOUSE. 87 

able effort — hesitates) I want to speak to you. I 
want a few words with you. 

Shirley. I have already told you that I could 
not see you, Mr. Ryder. 

Ryder. Yes, I know, but I want to see you very 
much — please come out. (Enter Shirley) Ah, 
that's a good girl. (Goes to c. as if ashamed of 
himself. Shirley comes out slowly. She has hat 
on and is putting on gloves. She is surprised at his 
tone — she looks at him quietly, waits for him to 
speak. Ryder holding out check) Why did you 
do this? 

Shirley. Because I didn't want your money. 

Ryder. It was yours, you earned it. 

Shirley. No, I came here hoping to influence 
you to help my father. The work I did was part 
of the plan, part of the scheme. It happened to 
fall in my way. I took it as a means to get your 
ear. 

Ryder. But it is yours, please take it. 

Shirley. No — I can't tell you how low I should 
fall in my own estimation if I took your money. 
(Contemptuously) Your money — Why it's all 
there is to you — it's your God. Shall I make your 
God my God — No — Mr. Ryder. 

Ryder. (Crosses r., sits) And so I contaminate 
even good money. 

Shirley. Money itself is either good or bad — 
(Crosses to R. c.) It's the spirit that gives it — 
the spirit that receives it. Money creates happi- 
ness, but it also creates misery. It destroys in- 
dividuals as it does nations — it has destroyed you 
for it has warped your soul. 

Ryder. No — I 

Shirley. I repeat it — money — the power it has 
given you has dried up the well springs of your 
heart. 

Maid. (Entering r.) Cab's at the door, Miss. 
(Exits) 



88 THE LION AND THE MOUSE. 

Ryder. You won't need it. (Rises) I — I came 
here to tell you that I — (As if ashamed of himself) 
Ah, you've made it very hard for me to speak. 
(Shwly) I've seen Senator Roberts and I'm going 
to VVr. hington. 

Shifley. My father 

Ryder. It's all about your father. He'll not be 
impeached. The matter will be adjusted; you've 
beaten me. I acknowledge it, but you're the first 
living soul who has beaten John Ryder. 

Shirley. You mean that you are going to help 
my father? 

R\T)ER. Not for his sake — ^not for his sake • 

Shirley. Ah, the principles of the thing. 

Ryder. Never mind the principles — it's for vou. 

Shirley. {Shakes her head) And I haci no 
faith 

Ryder. (Pauses as if ashamed — crosses to R. 
c.) I'm going to Washington on behalf of your 
father because I — I want you to marry m}^ son. 
Yes, I want you in my family, close to me ; I want 
your respect, my girL I want your love. I want 
to earn it. I know I can't buy it There's a weak 
link in every man's chain and that's mine, I always 
want what I can't get. I can't get your love un* 
irss I cam it Oh, don't tell me I can, because I 
know I can't. (Sees ihat she is pensive and doesn't 
spjak) Why, you look aknost disappointed ; you've 
g-^i-ed your point, you've beaten me — ^your father 
is loing to be restored to you. You are going to 
tii-rry the man you love — ^is thrX the right time? 
(Locks at watch) i leave in fif.^n mmw v for 
W^ihington. Will you trust me to go alone, or 
will you go with me? 

Shirley. I trust you, but 111 go wi h yotL 
(Crosses to il) It's very good of you to allow me 
to win you over. 

Ryder. You won me over last night when you 



THE LION AND THE MOUSE. 89 

put up that fight for your father — we*re not going 

alone. (Goes to door) Jeff — Jeff 

Shirley. He'll be the happiest man in the world 
— father — father — I wajit to laugh and I feel like 
crying 

(Enter Jefferson.) 

Jefferson. He has told you? (Crosses down 
to her c.) 

Shirley. Yes. 

(Enter Roberts. Everybody turns and looks at 
him. ) 

Roberts. Kate has gone off with Bagley. (Om- 
inously) Jeff, my boy 

Ryder. Oh, he'll get over it, won't you? 
(Roberts exits) Mind, we leave for Washington 
in ten minutes. (Exits r.) 

Shirley. We'll be there. 

Jefferson. Together ? 

Shirley. Together. 

CURTAIN, 



THE LION AND THE MOUSE. 



KEY TO GROUND PLAN OF ACT I. 

The pittinf?-room of a Loni? Island cottage. It Is neat, but plain and 
old fashioned. Ligh*; "wood-work, wall paper, etc. 
(Autumn — Afternoon) 

A— Returns. Al-Teaser (14 ft. Trim) 

B— Backing, 3' owing red brick wall, covered with vines. 

Bi— Backing, showing village street, etc. (This is a flipper to " B "J 

C- Wing 11 ft. high. 

D- Arch 8 ft. high. 

E— Bay Window, with ceDing-plece. etc. 

F— Jog 14 ft. high. 

G- Wing 14 ft. high. 

H— Jog 2 ft. wide, 14 ft. h!gh ; from one leg of arch " HI " 

HI- Arch 2u ft. wide, I'i ft. high. 

H2— Wing 6 ft. wide, 14 ft. high ; forming other leg of arch " HI * 

H3- H4. H.5- (See plan of ceiling) 

I- Wing 4 ft. -wide. 12 ft. high, 

J— Door. 

K— Platform 12 ft. high, (Entrances to be made under this) 

L— Stops to stage. 

M— Hall backing; set under platform "K". 

N— Angle-steps, at top of flight *' O ". 

O— Stops. 

P- Platform (Landing) 2 ft. high 

a— stops. 

R— Balustrade-posts, Rl- Balustrades. 

S— Balustrade-post and column ; extending from platform ''p" vxf 

to and supporting ceiling " Ht " See ceiling-plan. 
T— Balustrade-post, at top of steps *' O *'. 

¥" i^% I'o /!' u-'^u- \ Painted same as set. 

V— Flat 18 ft high. S 

W— Wing 12 ft. high. 8 ft. wide. 

Wl— Casement window. (Not practical). 

X— Wing 14 ft high. 12 ft. wide. 

Y- Door. 

Z— • Dining-room backing. 

BB— Dark interior backing, 

CC— Door. 

DD— Fireplace backing. 

EE— Fireplace opening. 

FF— Br.cking, showing village street. (Slmllarto "B!"! 

GG- Ceiling, 14 ft. trim. 

1 Chairs. 

2 Armchairs, 

3 Easy Chair, 

4 Mantel. 

5 Bookcase. 

6 Stands 

7 Table. 

8 Settee. 

NOTE FOR CARPENTER: 

Moulding at top edge of pieces " W " and " J " and at same height 

on left part of flat " V" this mouldmg is also on bottom edge of the 

ceiling H4 " along the cut-out section. 



9 


Table. 


10 


Sofa. 


11 


Piano. 


12 


Piano stool. 


33 


Hatrack. 


14 


Window-seat 


15 


Tabaret. 


16 


Whatnot 



THE LION AMD THE MOUSE. 91 



CD 

i 



a > 



Z 

o 

a 






1^ 



®\/ fe) C> 



■5 — dS 




(? 



pj 



— I ?x- . " I I 



n^ 



^ 



® ^ 
s 




92 



THE LION AND THE MOUSE. 







ill 


P i. 








Al 


'Olio 4- m ' • 


•-4 


X 


IXS S I >D 


g 






^ 
£ 




1 




1 


, 






- -^ 


u 










to 








1 


:3ti 






> 




Q^ 










^a 










m2 








t 


K 








' 9 


QQ 








£ 


n 


10 

I 


z 


> 


Z.\A 








ir> 


2i 








i: 


;3W 












lU 












a: 












H 








> 


•-• 




i 












'i' 






O JiJU 1 






2:,^ 






-?{_> 








dof 










3 Ul-< 




"^t. 












^o 



aiQ 



THE LION AND THE MOUSE. 93 

PROPERTY PLOT. 

Place: — New York. Period: — The present. 

ACT L 

(Sitting-room of a Long Island Cottage — Neat but 
plain and old-fashioned.) 

Ground cloth. Medallion. Rugs. 

Carpet on steps and platform up r. 

Portieres at window arch down r. 

Portieres at window up l. c. 

Scrim curtains at bay window do\vn R. 

Scrim curtains at window up l. c. 

Roller-shade (Dummy) at window up L. c. 

Mantel and fireplace down l. 

Square piano down r., obliqued, keyboard upstage. 

Piano-stool above and r. of piano. 

Hatrack in corner below door up r. 

Whatnot in upper l. corner. 

Table (marble-top) l. c. 

Small table up c, l. of stair-landing. 

Tabaret below small table. 

Stand back of settee up c. L. 

Stand R. of bookcase up l. 

Stand above window down r. 

Bookcase up l. 

Sofa below stairs up c, faces front. 

Settee in corner of stair-landing up c. h* 

Easy-chair at fireplace down L. 

Armchair l. of piano r. 

Armchair r. of table l. c. 

Chair l. of table l. c. 

Chair below window down r. 

Window-seat in window down R. 



94 THE LION AND THE MOUSE. 

Bell-rope below door up l. PRACTICALLY con- 
nected to a tinkle-bell off l., attached to back of 
wing. 

Old-fashioned pictures on walls. 

Old-fashioned portraits (in oval frames) on walls. 

At Fireplace — Coal-grate. Fender, etc. 

On Mantel — Lambrequin. Ornaments. Vase with 

cheap flowers. Modern photos. Written letter. 
On Bookcase up l. — Old-fashioned clock (set at 

3 : 30). Vase with cheap flowers. Four photos 

(modern) un framed. Law books and other 

books on shelves. 
On Piano — Large oil-lamp, with shade. Bowl, with 

cheap flowers. 
On Table l. of stair-landing — Large oil-lamp 

(with shade). 
On What-not — Ornaments. Sea-shells, curios, 

etc. 
On Stand back of settee up c. L. — Fern on holder. 
On Stand r. of bookcase — Books. Magazines. 
On Stand doWn r. — Large vase. 
On Tabaret up c. l. — Small palm in jardiniere. 

On Window-seat— 1 

Sofa ^ Sofa pillows. 

Settee — J 

On Hat-rack — Two hats. Cane. Umbrella. 

On Table l. c. — Two law books. Two stock- 
broker's reports. Several legal documents. 
Pad of writing paper. Pencil. Matches in 
stand. Ash-tray. 

SIDE 

L. u. e. — Tinkle-bell (of different' tone to that at- 
tached to bell-cord). 

R. u E. — Carriage-wheel effect. 

R. 3 E. — Door slam. Traveling bag ; steamer rug in 
sb^wl strap (St^'^t) 



THE LION AND THE MOUSE. 



95 



R. 3 E. — Steamer trunk. 

Thirty-inch trunk. 
Hat-trunk (used for 
seat). 



HAND 



(Expressman) 

(All have seen 
use and have 
many foreign 
hotel and Rail 
road labels.) 



Deetle — Cards in black leather card-case. 

Miss Nesbitt — Hand-bag with four visiting cards, 

4 large business cards, 6 small printed tickets, 

small note-book, small pencil. 
Jefferson — Cards in card-case; N. Y. paper with 

cut of woman in it. 
Shirley — Traveling bag. 
Stott— -Cigar ; matches ; 4 documents ; paper money 



96 THE LION AND THE MOUSE. 



LIGHT PLOT. 



ACT L 



Bunch back of window down r. 

Red bunch back of window down R. (to go on at 

cue.) 
Bunch R. and l. of window up l. c. 
Red bunch r. and l. of window up l. c. (to go on at 

cue). 
Strip (3 — lamp) on platform off R. 
Strip (3 — lamp) over door up r. 
Strip (2 — lamp) over door up l. 
Strip (2 — lamp) over door l. 2. 
Coal-grate in fireplace l. (Not lighted). 

AT RISE 

Foots and ist Border full up. 
Red Foots and ist Border ^ up. 

it's too recent. (Shirley) 

READY 

truly first and only — (Shirley) 

GRADUALLY 
Lower white lights to J4» 
Raise red foots to full. 
Red Bunches on to fulL 



THE LION AND THE MOUSE. 



97 




98 THE LION AND THE MOUSE. 
PROPERTY PLOT. 



ACT IL 

(^Handsome Library — Carved Oak Furniture,) 

Floor cloth (painted as hard- wood parquet flooring). 
Small medallion under desk L., and obliqued to same 

angle as desk. 
Fur rug at fireplace r. 
Rug in front of doors c. 
Large rug back of doors c. 
Massive mantel and fireplace r. 
Tapestry portieres at window-arch L. 
Heavy lace curtains at bay window L, 
Large bookdase r. of doors c. 
Large bookcase l. of doors c. 
Cabinet (or cellaret) with door (key to this door to 

Bagley) above mantel. 
Stand below mantel. 

Table at l. end of bookcase r. c. (with lower shelf). 
Small table above window l. 
Large table desk (5 ft. long) down l. c, obliqued 

with line of left wall. 
This desk is massive and rich. Row of drawers 

above and below knee-hole, on l. side of desk. 

Key to 2nd drawer from top, down-stage, for 

Ryder. 
Short settee r. c. 
Easy-chair at fireplace. 
High-backed armchair L. of desk. 
Chair down l. 
Chair r. of desk. 
Chair r. end of bookcase r. c. 
Footstool below easy-chair. 
Davenport against backing of doors ^ 



THE LION AND THE MOUSE. 99 

Stand R. of davenport. 
Stand L. of davenport. 
At Fireplace — Large andirons. Fender. Shovel, 

poker and tongs in stand. Gas-log, lighted. 

(Electrician) 
On Mantel — Two large low pieces of dark pottery. 
On Table up l. — Books, magazines. 
On Stand down r. — Handsome bust of " Na- 

POLEON ". 

On each Bookcase — Large bronze figure. Books 
(8 or 10 to be removed) on shelves. 

In Cabinet — Box of long black cigars (Practical). 
Other cigars and cigarette boxes. 

On Davenport — Sofa pillows. 

On Stands r. and l. of davenport — Palm in 
jardiniere. 

On Table up c. d. — Books, magazines. 

On Desk l. c. — Large brass mounted blotter-pad 
(on left side). Large double inkstand. Calen- 
dar in stand. Paper and envelopes in rack. 
Engagement pad. Scratch-pad. Blotters. 
Pens. Pencils. Paper-weights. Paper-knife. 
Pile of opened letters under weight. 2 Piles of 
folded documents. Draft of an Act of Congress. 
Matches in heavy brass combination holder and 
ashtray. Two New York Evening papers (on 
r. side). Two desk-phones at upper end. 
(Electrician). House-phone (Enghsh style) 
on lower end. (Electrician). Typewritten 
document with backing, on upper end of desk- 
pad. Well-bound novel on upper end, with 6 
slips for book-marks at intervals between leaves. 
Small ornamental tap-bell. 

SIDE 

R. u. e. — ^Tin dispatch-box, with 10 letters, 4 written 
manuscripts, 8 documents. (Jorkins) 
Salver, visiting card. (Jorkins) 



too THE LION AND THE MOUSE. 

Mahogany tray with handles : — Silver pot filled 
with hot tea ; milk in silver creamer ; sugar and 
tongs in silver sugar-bowl ; shoes of lemon and 
lemon fork on small dish ; 6 five o'clock teacups, 
saucers and spoons. (Servant) 

HAND 

Roberts — New York Evening paper; matches in 
case. 

Bagley — Bunch of keys on ring and chain, with key 
to cabinet door ; list of names on writting-pad ; 
silver pencil ; visiting-card. 

Kate — Note, in opened envelope (Not mail). 

Mrs. Ryder — Typewritten letter on large note- 
paper, in square envelope opened, addressed 
to "Mr John B. Ryder, 1214 Fifth Ave., 
Manhattan (mail). 

Ryder — Bunch of keys on ring and chain, with key 
to dispatch-box used by Jorkins and key to 
laid drawer on down-stage side of desk. 



THE LION AND THE MOUSE. loi 
LIGHT PLOT. 



ACT n. 



Bunch back of stained-glass window up c. 

Red bunch back of stained-glass window up C. 

Bunch back of window down L. 

Red bunch back of window down Lo 

Long strip over double-doors c. 

Long red strip over double-doors c. 

Large fire-log in fireplace r. (Lighted) 

Amber and orange bunch in fireplace l. 

Dome chandelier hanging over desk l. (Not lighted 

in Act II). 
Two-arm bracket with dark shades above mantel. 
Two-arm bracket with dark shades below mantel. 
Two-arm bracket with dark shades up R. c. 
Two-arm bracket with dark shades up l. c. 
(Brackets not lighted in Act II.) 
Two desk telephones on upper end of desk L. 
House-phone (English style) on lower end of desk. 
Two sets of telephone-bells (of different tones) 

concealed in window L. to be rung from off 

stage). 
Buzzer concealed in desk L., to be rung from off 

stage. 
Button under lower L. edge of desk L., to ring 

buzzer off stage up r. 

Push-switch L. of doors c. 

AT RISE 

Foots and ist Border full up. 

Red Foots and ist Border full up. 

All Bunches and strips full up. 

deserves to be punished (Shirley) 



I02 THE LION AND THE MOUSE. 

READY. 

the one who did it (Ryder) 

Very gradually — 

Lower White lights to J^. 

PROPERTY PLOT. 

ACT HL 

(Same as Act H. Eight weeks later,) 

Strike — Tea things. 

Strike — Papers, etc., that were in dispatch-box. 

Stri KE — Dispatch-box. 

Slightly re-arrange articles on desk and the 

furniture. 

SIDE 

R. u. E. — Chairs and music stands. Piano and stool. 

HAND 

Stott — Three of the letters that were in dispatch- 
box in Act H. 

LIGHT PLOT 
ACT in. 

Blue bunch back of stained-glass window up c. 

Blue bunch back of window l. 

Other strips and bunches as in Act II. 

Brackets on. 

Dome chandelier on. 

Amber light in hall. 

Foots and ist Border J4 up. 

Red Foots and ist Border j^ up. 



THE LION AND THE MOUSE. 103 

MUSIC CUES. 

ACT III. 

(Orchestra on stage, r. u. e. immediately after 

rise.) 
No. I. . . . . • (as soon as possible after rise) 
Waltz pp until telephone rings. 

the devil is this Bagley? 

(Roberts) 
Ready. 

No. 2 is the Rossmore case going? 

(Ryder) One Step pp until 

ril attend to Fitz presently. 

(Roberts) 
r, .... combat your father's will. 
(Shirley) 
Ready. 

No. 3 money-gods of the world. 

(Shirley) 
Waltz andante (pp) until curtain. 



104 THE LION AND THE MOUSE. 




THE LION AND THE MOUSE. 105 

PROPERTY PLOT. 

ACT IV. 

{Dainty and white boudoir — white or mahogany 
furniture. ) 

Ground cloth. Light medaUion, Rugs. 

Light rug back of door l. 

Dark rug back of door r. 

Portieres at window-arch R. 

Single portiere at door r. 

Single portiere at door l. 

Scrim curtains at bay-window R. 

Mantel and fireplace up l. c. 

Window-seat in window R., upholstered in same 

material as portieres. 
Book-case down l. 
Table-desk in window R. 
Table c. l. 

Console table down r. 
Tabaret l. of console-table. 
Tabaret below mantel L. 
Pedestal in corner up c. 
Easy-chair r. c. 
Arm-chair at fireplace. 
Small chair below desk R, 
Chair below door L. 
Stool L. of table c. l. 
Dressing-table against backing of door L. 
Pedestal above dressing table. 
Dainty, handsome pictures on walls. 
Pictures on backing over dressing table. 
At Fireplace — Brass andirons. Fender. Poker, 

shovel and tongs in stand. Two half -burnt logs. 

Ashes. 



io6 THE LION AND THE MOUSE. 

On Mantel — Clock. Ornaments. Two photos in 
silver frames. 

On Bookcase — Vase with faded flowers. Doors 

backed by curtain of same material as portieres. 

On Table c. — Books. 

On Console Table — Bowl of faded flowers. 

On Tabaret r. — Fern in holder. 

On Tabaret l. — Tall vase. 

On Pedestal up c. — Statuette. 

On Window-seat — Sofa pillows covered with same 
material as portieres. 

On Desk — Dainty desk-set, inkstand, etc. Note- 
paper and envelopes in rack. Pens. Paper- 
weight. Several books. lo mailed envelopes, 
open. Calendar in frame. Desk-lamp. 
(Electrician). 

On Dressing Table back of door l. — Lace cover. 
Toilet articles (for woman) ad lib. 

On Pedestal r. of dressing table — Vase of flowers, 

SIDE 

R. I E. — Tray: — Doiley; small china teapot, with 
hot tea; milk in creamer; sugar and tongs in 
sugar-bowl; cup; saucer and spoon; plate of 
small biscuit ; napkin. 

L. 2 E. — Clean chair for Shirley. 

HAND 

Ryder — Written check; watch and fob. 

Roberts — New York morning paper. 



THE LION AND THE MOUSE. 107 

LIGHT PLOT. 

ACT IV. 

Blue bunch above and below window R. 

Red bunch above and below window r. (to go on 

at cue) 
White bunch above and below window R. (to go 

on cue) , 

Two small orange bulbs in ashes of fireplace. (On 

at rise — they gradually dim off towards end of 

Act) 
Strip (2 — lamp) over door l. 
Strip (2 — lamp) over door r. 
( I — lamp on at rise — turn other lamp on after lights 

are up) 
Two-arm bracket, Light shades, below window R. 
Two-arm bracket, Light shades, below door L. 

(Not practical.) 
Small desk lamp on desk r. (Not practical). 
AT RISE 

Foots and ist Border % up. 
Blue Foots and ist Border J^ up. 
Blue Bunches full up. 

(immediately after rise) 

GRADUALLY— 

Bring White bunches up to 5^ then dim bhie 

bunches out and bring red bunches up to full; 

then white bunches up to full. 

minutes or two ahead of lights on stage. 

and 1st Border. 
Make the entire change in ten minutes. 
Keep the lights — change back of window a few 
At same time make corresponding changes in foots 



io8 THE LION AND THE MOUSE. 

DRESS PLOT. 

Place :— New York. Period : — The present. 

Act I. Autumn. Afternoon. 

Act n. Winter. Afternoon. 

Act in. Two months later. Night. 

Act IV. Dawn, the next morning. 

Ex- Judge Stott — (Age 55) 

Act I. Dark walking suit, hat, etc. 

Act II. Frock suit, etc. 

Judge Ross more — (Age 65) 

Black frock suit, felt hat, etc. 
Jefferson Ryder — (Age 24) 
Act I. Walking suit, hat, etc. 
Act II. Afternoon suit. 
Act III. Evening dress, white gloves, etc. 
Act IV. Sack suit. 
John Burkett Ryder — (Age 50) 
Act II. Frock suit. 
Act III. Evening dress. 
Act IV. Frock suit. 
Senator Roberts — (Age 60) 
Act II. Black frock coat, gray trousers, etc. 
Act III. Cutaway suit. 

Act IV. Same as Act III. 

Hon. Fitzroy Bagley — (Age 35) 

Afternoon frock suit. (Very English 
in style) 

Rev. Pontifex Deetle — (Age 45) 

Clerical coat, vest, collar, hat, etc. 
Black trousers, black gloves. 

JoRKiNS — (Age 50) 

Act II. Butler's costume. Dress coat, high-cut 



, THE LION AND THE MOUSE. 109 

black vest, gray striped trousers, 
four-in-hand tie, etc. 
Act hi. Same as Act H except dress vest and 

black string tie. 
Act IV. Same as Act IIL 
Footman — Livery. 

Expressman — Rough trousers, boots, hat, shirt, etc. 
Shirley Ross more — (Age 22) 
Act I. Handsome traveling costume, coat, hat, 

gloves, etc. 
Act II. Neat walking suit; hat, gloves, etc. 
Act III. Handsome evening gown, gloves, etc. 
Act IV. Neat walking dress, hat, gloves, etc. 
Mrs. Ryder — (Age 42) 
Act II. Elaborate afternoon costume, hat, gloves, 

etc. 
Act III. Elaborate evening gown, gloves. 
Act IV. Handsome dressing-gown, slippers, etc., 

( somewhat dishevelled ) . 
Kate Roberts — (Age 20) 
Act II. Handsome afternoon dress, hat, gloves, 

etc. 
Act hi. Handsome evening gown, gloves. 
Mrs. Rossmore — (Age 55) 

Handsome afternoon house dress. 
Miss Nesbitt — (Age 25) 

" Smart " walking dress ; hat, gloves, 
etc. (Considered "the thing" 
in a small Long Island village, but 
a bit belated in style). 
Miss Jane Beetle — (Age 40) 

Old-fashioned, plain black silk dress; 
lace collar with a cameo breast- 
pin ; hat, black silk " mits " ; black 
silk reticule, etc. 
EuDOXiA — (Age 30) 

Calico dress, long bib-apron. 
Maid — (Age 20) 

Maid's white uniform, cap, apron, etc. 



no THE LION AND THE MOUSE. 



COSTUMES PLOT. 

Mr. Beetle — Clergyman's coat, vest, trousers 
and hat. 

Footman — Dress coat with silver buttons; club 
Vest; trousers with narrow silver braid down the 
sides. 



CURTAIN CALLS. 

ACT I. 

1st CALL — Shirley, Jefferson. 
2nd CALL — Shirley, Jefferson. 

ACT n. 

1st CALL — Those on at Curtain. 
2nd CALL — Shirley, Jefferson, Ryder. 
3rd CALL — Shirley, Jefferson. 

ACT in. 

1st CALL — Jefferson and Ryder. 
2nd CALL — Shirley, Jefferson, Ryder. 
3rd CALL — Shirley, Jefferson, Ryder. 

ACT IV. 

Shirley, Jefferson, Ryder. 



The Return of Hi Jinks 

A comedy in four acts, by Marion Short, author of "The Varsity 
Coach," "The Touch-Down," etc. 6 males, 8 females. Costumes 
modern. One interior scene. 

This comedy is founded upon and elaborated from a farce comedy 
in two acts written by J. H. Horta, and originally produced at Tuft's 
College. 

Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier 
type), and a young moving picture actress (Mary Pickford type), are 
the leading characters in this lively, modern farce. 

Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes 
to think up a scheme to throw ridicule upon him during a visit of 
the Hoosic Glee Club to Jinks's home town. Jinks has obligingly acted 
as a one-day substitute in a moving picture play, in which there is a 
fire scene, and this gives H9dge his cue. He sends what seems to 
be a bona fide account of Jink's heroism at a Hoasic fire to Jink's 
home paper. Instead of repudiating his laurels as expected, Jinks 
decides to take a flyer in fame, confirms the fake story, confesses to 
being a hero and is adored) by all the girls, to the chagrin and dis-. 
•omfiture of Hodge. Of course, the truth comes out at last, but 
Jinks is not hurt thereby, and his romance with Mimi Mayflower 
comes to a successful termination. 

This is a great comedy for amateurs. It is full of funny situations 
and is sure to please. Price, 30 Cents. 



J 



une 

A most successful comedy-drama in four acts, by Marie Doran, 
author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's 
Neighbors," etc. 4 males, 8 females. One interior scene. Costumes 
modern. Plays 2J4 hours. 

This play has a very interesting group of young people. June is 
an appealing little figure, an orphan living with her aunt. There are 
a number of delightful, life-like characters: the sorely tried likeable 
Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- 
ment, the lively Tilly and Milly, who work in the store, and ambitious 
Snoozer; Mrs. Hopkins's only son, who aspires to be President of the 
United States, but finds his real sphere is running the local trolley 
car. The play is simplicity itself in the telling of an every-day story, 
and the scenic requirements call for only one set, a room in the 
boarding house of Mrs. Hopkins, while an opportunity is afforded ta 
introduce any number of extra characters. Musical numbers may be 
introduced, if desired. Price, 30 Cents. 

Tempest and Sunshine 

A comedy drama in four acts, by Marie Doran. 5 males and 3 
females. One exterior and three interior scenes. Plays about 2 hours. 

Every school girl has revelled in the sweet simplicity and gentle- 
ness of the characters interwoven in the charms that Mary J. Holmes 
commands in her story of "Tempest and Sunshine." We can strongly 
recommend this play as one of the best plays for high school pro- 
duction published in recent years. Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

Hew and Explicit Descriptive Catalogue Mailed Free en Request 



p 



The Touch-Down 

A comedy in four acts, by Marion Short. 8 males, 6 females^ tut 
any number of characters can be introduced in the ensembles. Cos* 
tumes modern. One interior scene throughout the play. Time, 2}^ 
hours. 

This play, written for the use of clever amateurs, is the story ©f 
life in Siddell, a Pennsylvania co-educational college. It deals with 
the vicissitudes and final triumph of the Siddell Football Eleven, and 
the humorous and dramatic incidents connected therewith. 

"The Touch-Down" has the true varsity atmosphere, college song's 
are sung, and the piece is lively and entertaining throughout. High 
schools will make no mistake in producing this play. We strongly 
recommend it as a high-class and well-written comedy. 

Price, 30 Cents. 

Hurry^ Huny^ Hurry 

A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. 
One interior scene. Costumes modern. Plays 2J4 hours. 

The story is based on the will of an eccentric aunt. It stipulates 
that her pretty niece must be affianced before she is twenty-one, and 
married to her fiance within a year, if she is to get her spinster 
relative's million. Father has nice notions of honor and fails to tell 
daughter about the will, so that she may make her choice untram- 
meled by any other consideration than that of true love. The action 
all takes place in the evening the midnight of which will see her 
reach twenty-one. Time is therefore short, and it is hurry, hurry, 
hurry, if she is to become engaged and thus save her father from 
impending bankruptcy. 

The situations are intrinsically funny and the dialog;ue is sprightly. 
The characters are natural and unaffected and the action moves with 
a snap such as should be expected from its title. Price, 30 Cents. 

The Varsity Coach 

A three-act play of college life, by Marion Short, specially adapted 
to performance by amateurs or high school students. 5 males 6 
females, but any number of boys and girls may be introduced in the 
action of the play. Two settings necessary, a college boy's room and 
the university campus. Time, about 2 hours. 

Like many another college boy, "Bob" Selby, an all-round popular 
cdllege man, becomes possessed of the idea that athletic prowess is 
more to be desired than scholarship. He is surprised in the midst of 
a "spread" in his room in Regatta week by a visit from his aunt 
who is putting him through college. Aunt Serena, "a lady of the old 
school and the dearest little woman in the whole world," has hastened 
to make this visit to her adored nephew under the mistaken impression 
that he is about to receive the Fellowes prize for scholarship. Her 
grief and chagrin when she learns that instead of the prize Robert 
has received "a pink card," which is equivalent to suspension for peer 
scholarship, gives a touch of pathos to an otherwise jolly comedy of 
college life. How the repentant Robert more than redeems himself, 
carries off honors at the last, and in the end wins Ruth, the faithful 
little sweetheart of the "Prom" and the classroom, makes a story of 
dramatic interest and brings out very clearly certain phases of modern 
college life. There are several opportunities for the introduction of 
college songs and "stunts." Price, 30 Cents. 

^ (The Above Are Subject to Royalty When Produced) 
\ \ SAMUEL FRENCH, 28-30 We^t 38th Street, New York City 

I New and Exoiicit Oiscrigtive Catalogue Mailed Free oo Reouest 

y RD 41 ; 



BILLETED. 

A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 males, 
5 females. One easy interior scene. A charming comedy, constructed 
with uncommon skill, and abounds with clever lines. Margaret Anglin's 
btg success. Amateurs will find this comedy easy to produce and popular 
with all audiences. Price, 60 Cents. 

NOTHING BUT THE TRUTH. 

A comedy in 3 acts. By James Montgomery. 5 males, 6 fema!es. Cos- 
tumes, modern. Two interior scenes. Plays 2^^ hours. 

Is it possible to tell the absolute truth— even for twenty-four hours? It ie— 
It least Bob Bennett, the hero of "Nothing But the Truth," accomplished th« 
feat. The bet he made with his business partners, and the trouble he got into — 
with his partners, his friends, and his fiancee — this is the subject of William 
Collier's tremendous comedy hit. "Nothing But the Truth" can be whole-heartedly 
recommended as one of the most sprightly, amusing and popular comedies that 
ftis country can boast. Price, 60 Cent«. 

IN WALKED JIMMY. 

A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, 2 females (although 
any number of males and females may be used as clerks, etc.) Two 
interior scenes. Costumes, modern. Plays 2^ hours. The thing into 
which Jimmy walked was a broken-down shoe factory, when the clerks 
had all been fired, and when the proprietor was in serious contemplation 
»f suicide. 

Jimmy, nothing else but plain Jimmy, would have been a mysterious figure 
bad it not been for his matter-of-fact manner, his smil« and his everlasting 
humanness. He put the shoe business on its feet, won the heart of the gifl 
slerk, saved her erring brother from jail, escaped that place as a permanent 
boarding house himself, and foiled the villain. 

Clean, wholesome comedy with j«8t a touch of human nature, just a dasfa •i 
Mccitement and more than a little bit of true philosophy make "In Walked Jimmy" 
one of the most delightful of plays. Jimmy is full of the religion of life, the 
religion of happiness and the religion of helpfulness, and he so permeates the 
atmosphere with his "religion" that everyone is happy. The spirit of optimism, 
oood cheer, and hearty laughter dominates the play. There is not a dull moment 
u any of the four acts. We strongly recommend it. Price, 60 Cents. 

MARTHA BY-THE-DAY. 

An optimistic comedy in three acts, by Julie M. Lippmann, author oi 
the "Martha" stories. 5 males, 5 females. Three interior scenes. Cos- 
tumes modern. Plays 354 hours. 

It is altogether a gentle thing, this play. It is full of quaint humor, c«4- 
fashioned, homely sentiment, the kind that people who see the play will reoaN 
and chuckle over tomorrow and the next day. 

Miss Lippmann has herself adapted her very successful book for stage service, 
and in doing this has selected from hei novel the most telling incidents, infectiova 
comedy and homely sentiment for the play, and the result is thoroughly delightftd. 

Price, 60 Cents. 

(The Above Are Subjact to Royalty Wlien Produced) 
f'AMUEL FRENCH, «8-30 We*t 38th Street, New York City 

New and Explicit DescriptiTe Catalogue M'aied Free on Request 



FRENCH'S 

Standard Library Edition 



Clyde Fitch 

William Gillette 

Augustus Thomas 

George Broadhurst 

Edward E. Kidder 

Percy Mac Kay e 

Sir Arthur Conan Doyle 

Louis N. Parker 

R. C. Carton 

Alfred Sutro 

Richard Harding Davis 

Sir Arthur W. Pinero 

Anthony Hope 

Oscar Wilde 

Haddon Chambers 

Jerome K. Jerome 

Cosmo Gordon Lennox 

H. V. Esmond 

Mark Swan 

Grace L. Furniss 

Marguerite Merrington 

Hermann Sudermann 

Rida Johnson Young 

Arthur Law 

Rachel Crothers 

Martha Morton 

H. A. Du Souchet 

W. W. Jacobs 

Madeleine Lucette Rylcy 



Includes Plays by 

Booth Tarkington 
J. Hartley Manners 
James Forbes 
James Montgomery 
Wm. C. de MUle 
Roi Cooper Megrue 
Edward E. Rose 
Israel Zangwill 
Henry Bernstein 
Harold Brighouse 
Channing Pollock 
s Harry Durant 
Winchell Smith 
Margaret Mayo 
Edward Peple 
A. E. W. Mason 
Charles Klein 
Henry Arthur Jones 
A. E. Thomas 
Fred. Ballard 
Cyril Harcourt 
Carlisle Moore 
Ernest Denny 
Laurence Housman 
Harry James Smith 
Edgar Selwyn 
Augustin McHugh 
Robert Housum 
Charles Kenyon 
C. M. S. McLellan 



French's International Copyrighted Edition con- 
tains plays, comedies and farces of international 
reputation; also recent professional successes by 
famous American and English Authors. 
Send a four-cent stamp for our new catalogue 
describing thousands of plays. 

SAMUEL FRENCH 

Oldest Play Publishfi: in the World 
28-30 West 38th Street, NEW YORK CITY 




LIBRARY OF CONGRESS 

015 973 870 A 







